Brief:
The opening two minutes of a fictional film including titles.
What is a Thriller?
Films that primarily use action and suspense to enagage the audience. They emphasize nervous tension and anxiety, as opposed to horror films which emphasize fear, or action movies which emphasize exhilaration. It relies on a minimum of pugilistic action using mystery and suspence.
Alfred Hitchcock was the first to effectively use 'the common man' as a protagonist. Typically, characters in thrillers include convicts, criminals, stalkers, assassins, down-on-their luck losers, innocent victims, prison inmates, menaced women, characters with dark pasts, psychotic individuals, terrorists, cops, drifters, fugitives and psycho-fiends and others.
Friday, 28 September 2012
Thursday, 27 September 2012
Audience Analysis Survey Graphs
Our main age demographic appears to be those in the 15-20 age range, or people our own age, and so this has affected the results in accordance to their preferences.
Clearly making an impact amongst social groups is important, as the most trustworthy source for film recommendations are people's friends and acquaintances. Youtube is also a cost-free and efficient way to get a a production to the mass market.
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 The demographic might not be that willing to see experimental films if they go to the cinema once a month or never, so a thriller would have to stand out to get attention and seen worth the cinema trip.   Thriller is the most popular genre, so it should be relatively simple marketing a thriller film to a teen demographic, as they will be willing to receive it. However, we believe we had a higher portion of female participants, therefore drama and romance were rated quite highly.  |
Sunday, 16 September 2012
Thriller Openings
TAXI DRIVER
Red credits on a black backdrop, the sinister colour palette suggest blood and violence.
The low angle shot of the taxi gives it power.
The extreme close-up on the character's eyes introduce him as the central figure of the story. The blurriness of his surrounding creates further focus on the character, and that he may be isolated whilst still being surrounded by people.
Dim lighting in a night setting alludes to film noir, with elements of chiaroscuro.
The unfocused camera on much of the surroundings could be a reference to the lack of the clarity in the mind of the character.
The non-diegetic music switches between light jazz to frightening, deep sounds, which makes the sequence seem bipolar in nature, perhaps another representation of character and his warped and violent feelings.
DRIVE
The establishing shot is a panoramic view of the city, immediately setting up the location and backdrop of the film.
Credits and music suggest the setting is the 80s, but the pink and effeminate font seems to contrast with the theme and atmosphere of the scene.
Midshots always focusing on character so that he is recognised as the protagonist, with the surroundings rarely highlighted for long. However extreme long shots signify the urban nature of the film, and the presence of the character within it is not extraordinary
An over-shoulder-shots emphasise his perspective on the world, and his only interaction with another character is when he passes a woman in the car park. However, this could be a hint that she will return later.
Low-level camera shots give the character power and significance, especially when he is driving in his car and inspecting his apartment.
Dim lighting references film noir and the fact that the scene takes place at night. Silhouetting against a backdrop adds mystery.
COLLATERAL
A sound bridge is used with the sound of plane, highlighting that the following sounds and scene will take place in an airport. Therefore sound is used to establish the scene rather than a extreme long shot.
There is emphasis on the footsteps on the character and visual focus on him amongst a blurred crowd, to show his importance. The same is done with another character, again for introductory purposes.
The diegetic sounds of the surroundings such as snippets of conversations present everyday life as the backdrop of the scene, as well as adding a certain realism to the scene.
The sound also focuses on the garage to signify it has some relevance to the story.
The mood of the scene is changed as a character gets into the car and slams the door, which is followed by a synchronised silence of all diegetic and non-diegetic sounds, and changes it to a more sombre tone, and focuses attention on the character inside the car.
Because sound is used for emphasis, the visuals are consequently shot in tight mid shots and close-ups. This use of high-speed editing further manages to create suspense.
FISH TANK
Immediate emphasis on the breathing of the character shows her as a central and important character. Quieter diegetic sounds establish the background, and realism is added with the absence of non-diegetic. e.g the crunch of her feet on the grass.
Characters are also introduced through sound, because you can hear them before you see them. This multi-sensory approach, as well as focused mid shots of the character invite the viewer to have an intimacy with her and her story; seeing the world from her perspective.
Contrasts are used to give depth, such as the sound of laughing children against a harsh backdrop. Flat lighting gives no depth the visuals, and the use of handheld camera gives the film a 'fly-on-the-wall' documentary style feeling.
CHILDREN OF MEN
Sound bridge of news leads to the opening long shot of a crowd silently watching the TV screen.
The shot is head on to the crowd so that the audience can watch their reactions to what the newsreader is saying, and the high angle shot indicates that they are not in control or powerful as characters.
The main character is introduced through the fact that he is the only character moving through the crowd, and has a little bit of dialogue.
The camera tracks him back through the crowd at a low-level, to suggest that someone may be watching or following him, and that he important or powerful in some way.
Outside the cafe the camera pans around to give an overview of the surroundings.
An arc shot around the character is used to show his reactions within his environment and create more intensity around him. The camera stops to show the cafe in the background, highlighting again that it is a place of note.
The shot is long and continuous and there is no editing, perhaps to build up a slow tension.
The sounds are all completely diegetic so to add to the realism and believability of the scene.
Red credits on a black backdrop, the sinister colour palette suggest blood and violence.
The low angle shot of the taxi gives it power.
The extreme close-up on the character's eyes introduce him as the central figure of the story. The blurriness of his surrounding creates further focus on the character, and that he may be isolated whilst still being surrounded by people.
Dim lighting in a night setting alludes to film noir, with elements of chiaroscuro.
The unfocused camera on much of the surroundings could be a reference to the lack of the clarity in the mind of the character.
The non-diegetic music switches between light jazz to frightening, deep sounds, which makes the sequence seem bipolar in nature, perhaps another representation of character and his warped and violent feelings.
DRIVE
The establishing shot is a panoramic view of the city, immediately setting up the location and backdrop of the film.
Credits and music suggest the setting is the 80s, but the pink and effeminate font seems to contrast with the theme and atmosphere of the scene.
Midshots always focusing on character so that he is recognised as the protagonist, with the surroundings rarely highlighted for long. However extreme long shots signify the urban nature of the film, and the presence of the character within it is not extraordinary
An over-shoulder-shots emphasise his perspective on the world, and his only interaction with another character is when he passes a woman in the car park. However, this could be a hint that she will return later.
Low-level camera shots give the character power and significance, especially when he is driving in his car and inspecting his apartment.
Dim lighting references film noir and the fact that the scene takes place at night. Silhouetting against a backdrop adds mystery.
COLLATERAL
A sound bridge is used with the sound of plane, highlighting that the following sounds and scene will take place in an airport. Therefore sound is used to establish the scene rather than a extreme long shot.
There is emphasis on the footsteps on the character and visual focus on him amongst a blurred crowd, to show his importance. The same is done with another character, again for introductory purposes.
The diegetic sounds of the surroundings such as snippets of conversations present everyday life as the backdrop of the scene, as well as adding a certain realism to the scene.
The sound also focuses on the garage to signify it has some relevance to the story.
The mood of the scene is changed as a character gets into the car and slams the door, which is followed by a synchronised silence of all diegetic and non-diegetic sounds, and changes it to a more sombre tone, and focuses attention on the character inside the car.
Because sound is used for emphasis, the visuals are consequently shot in tight mid shots and close-ups. This use of high-speed editing further manages to create suspense.
FISH TANK
Immediate emphasis on the breathing of the character shows her as a central and important character. Quieter diegetic sounds establish the background, and realism is added with the absence of non-diegetic. e.g the crunch of her feet on the grass.
Characters are also introduced through sound, because you can hear them before you see them. This multi-sensory approach, as well as focused mid shots of the character invite the viewer to have an intimacy with her and her story; seeing the world from her perspective.
Contrasts are used to give depth, such as the sound of laughing children against a harsh backdrop. Flat lighting gives no depth the visuals, and the use of handheld camera gives the film a 'fly-on-the-wall' documentary style feeling.
CHILDREN OF MEN
Sound bridge of news leads to the opening long shot of a crowd silently watching the TV screen.
The shot is head on to the crowd so that the audience can watch their reactions to what the newsreader is saying, and the high angle shot indicates that they are not in control or powerful as characters.
The main character is introduced through the fact that he is the only character moving through the crowd, and has a little bit of dialogue.
The camera tracks him back through the crowd at a low-level, to suggest that someone may be watching or following him, and that he important or powerful in some way.
Outside the cafe the camera pans around to give an overview of the surroundings.
An arc shot around the character is used to show his reactions within his environment and create more intensity around him. The camera stops to show the cafe in the background, highlighting again that it is a place of note.
The shot is long and continuous and there is no editing, perhaps to build up a slow tension.
The sounds are all completely diegetic so to add to the realism and believability of the scene.
Thriller: Opening Titles Review #3
Hanna
Dir: Joe Wright
The first credits appear centrally on a white mist, which fades to a reveal an establishing shot of an arctic circle landscape, which is where the protagonist, Hanna, lives. The camera then cuts to long shots focusing on aspects of the environment, such a a baby seal or an ice pools. Hanna herself is introduced as the camera pans across a section of trees, and she is seen crouching in the right hand corner of the screen amongst snow and pushes, to show that she is comfortable and familiar with her environment. Characters of significance are placed in the right half of the screen because they are seen in the viewers eyeline first.
Cross cut editing to show a long shot of a moose ambling through the trees, then cutting back to a mid shot of Hanna watching it. The viewers see the moose through the branches, to replicate an eyeline shot and show that Hanna is the predator and in control of the situation. Close-ups emphasise tension and movement as Hanna fires an arrow, and then extreme close-up on the eyes on the moose and the arrow as it pierces the skin, used for intense focus on the character and narrative.
The camera work as Hanna chases her fleeing quarry is in handheld style to make the atmosphere of the chase chaotic and tense, but the camera is then still in an extreme long shot of the moose collapsing in the centre of an expanse of flat snow-covered earth. In a sequence of continuity editing, the moose's death and pain is emphasised as the shots get closer until it is an extreme close-up on the dying animal's eyes. Cut to a power-emphazing tilted shot upwards of Hanna, looking down at the camera as though we were her praying, and holding up her pistol to shoot.
All sounds in the scene are diegetic, reflecting on the fact that Hanna lives a simple, mildly uncivilised existence away from the modern world. The scene starts off with almost no sound at all, only faint white noise against the arctic backdrop. At points of intense action, such as the moose's frightened yelp and the gunshot, the sounds are heightened because acts of such violence are alien to the serenity of the white surroundings. The complete whiteness of the background suggests purity, and so showing the darkness of Hanna and her prey could suggest Hanna is not entirely innocent for her age, which is a notion relevant to the plot of the film.
Dir: Joe Wright
The first credits appear centrally on a white mist, which fades to a reveal an establishing shot of an arctic circle landscape, which is where the protagonist, Hanna, lives. The camera then cuts to long shots focusing on aspects of the environment, such a a baby seal or an ice pools. Hanna herself is introduced as the camera pans across a section of trees, and she is seen crouching in the right hand corner of the screen amongst snow and pushes, to show that she is comfortable and familiar with her environment. Characters of significance are placed in the right half of the screen because they are seen in the viewers eyeline first.
Cross cut editing to show a long shot of a moose ambling through the trees, then cutting back to a mid shot of Hanna watching it. The viewers see the moose through the branches, to replicate an eyeline shot and show that Hanna is the predator and in control of the situation. Close-ups emphasise tension and movement as Hanna fires an arrow, and then extreme close-up on the eyes on the moose and the arrow as it pierces the skin, used for intense focus on the character and narrative.
The camera work as Hanna chases her fleeing quarry is in handheld style to make the atmosphere of the chase chaotic and tense, but the camera is then still in an extreme long shot of the moose collapsing in the centre of an expanse of flat snow-covered earth. In a sequence of continuity editing, the moose's death and pain is emphasised as the shots get closer until it is an extreme close-up on the dying animal's eyes. Cut to a power-emphazing tilted shot upwards of Hanna, looking down at the camera as though we were her praying, and holding up her pistol to shoot.
All sounds in the scene are diegetic, reflecting on the fact that Hanna lives a simple, mildly uncivilised existence away from the modern world. The scene starts off with almost no sound at all, only faint white noise against the arctic backdrop. At points of intense action, such as the moose's frightened yelp and the gunshot, the sounds are heightened because acts of such violence are alien to the serenity of the white surroundings. The complete whiteness of the background suggests purity, and so showing the darkness of Hanna and her prey could suggest Hanna is not entirely innocent for her age, which is a notion relevant to the plot of the film.
Monday, 10 September 2012
Thriller: Opening Titles Review #2
The Beach
Dir: Danny Boyle
Ok this time I will actually concentrate on the credits, because I got a little bit carried away on the last review. The Beach's opening sequence focuses on the idea of how the travelling Leonardo DiCaprio is always surrounded by people and commotion, yet still emotionally alone. The credits appear in a blue haze on a black background, located in the bottom right hand corner of the street, in an attempt to draw our eyes away from the dark surroundings to the bright lights; a foreshadowing of the themes of the film, as DiCaprio searches for a magical Nirvana in what he perceives to be an unfriendly and cruel world. Credits continue to flash in a bright and waver form throughout the opening sequence, perhaps so that they seem hopeful amongst the imposing and dimly-lit background of Bangkok.
Silhouetting against a bright white backlight is used to introduce the audience to DiCaprio's stationary character, as other silhouettes and cars race at hyper speed, and this is yet another reference to the fact that the protagonist will end up completely removed, both mentally and physically, from normal society later in the film. Therefore attributes of the character's personality are already shown visually.
There is a first person narration, so the audience can share the central characters thoughts and visions, but this distracts from the credits on the side. Thumping music sets the fast pace that DiCaprio finds himself in, and diegetic sounds are incorporated into the rhythm of the music so as not disrupt the pace, as the character himself has no room for disruption of his travels. The camera tracks him walking down the street market of Bangkok, from both front and behind shots to show how the character responds to the environment around him, and even how this environment responds to him.
The two other main characters, Francoise and Etienne, are shown going into their hotel room as DiCaprio, and as he enters his room the scene cuts to the title shot. Thus the relationship between the main characters have been hinted and key ideas have been established with DiCaprio's narration before the end of the opening scene.
http://www.youtube.com/watch?v=ObKpwmZkl24
Dir: Danny Boyle
Ok this time I will actually concentrate on the credits, because I got a little bit carried away on the last review. The Beach's opening sequence focuses on the idea of how the travelling Leonardo DiCaprio is always surrounded by people and commotion, yet still emotionally alone. The credits appear in a blue haze on a black background, located in the bottom right hand corner of the street, in an attempt to draw our eyes away from the dark surroundings to the bright lights; a foreshadowing of the themes of the film, as DiCaprio searches for a magical Nirvana in what he perceives to be an unfriendly and cruel world. Credits continue to flash in a bright and waver form throughout the opening sequence, perhaps so that they seem hopeful amongst the imposing and dimly-lit background of Bangkok.
Silhouetting against a bright white backlight is used to introduce the audience to DiCaprio's stationary character, as other silhouettes and cars race at hyper speed, and this is yet another reference to the fact that the protagonist will end up completely removed, both mentally and physically, from normal society later in the film. Therefore attributes of the character's personality are already shown visually.
There is a first person narration, so the audience can share the central characters thoughts and visions, but this distracts from the credits on the side. Thumping music sets the fast pace that DiCaprio finds himself in, and diegetic sounds are incorporated into the rhythm of the music so as not disrupt the pace, as the character himself has no room for disruption of his travels. The camera tracks him walking down the street market of Bangkok, from both front and behind shots to show how the character responds to the environment around him, and even how this environment responds to him.
The two other main characters, Francoise and Etienne, are shown going into their hotel room as DiCaprio, and as he enters his room the scene cuts to the title shot. Thus the relationship between the main characters have been hinted and key ideas have been established with DiCaprio's narration before the end of the opening scene.
http://www.youtube.com/watch?v=ObKpwmZkl24
Sunday, 9 September 2012
Thriller: Opening Titles Review #1
Casino Royale
Dir: Martin Campbell
This was my first and favourite James Bond film, and is considered more 'gritty' than older interpretations and stylistically different. The first, pre-credits segment is an homage to film noir and spy films of the cold war era (the original James Bond era), and so is shot entirely in black and white. The first opening shot is from the ground up, elongating the long dark building, illuminated only by a bright street lamp. Mystery and suspense is implied by the use of this 'top' light as it adds shadow and a certain glamour, as well highlighting the smoke billowing across the street.
Time is shown seasonally, as there is snow on the ground, and when the character gets out of his car, his crunchy footsteps are loud and clear. More diegetic sounds are used to highlight this character's significance and air of suspense as he ascends to the top floor; the sounds of the lift, his footsteps on the tiles and the opening click of the door interspersed with non-diegetic tinkles of sinister music. The camera then pans as he cuts across his office to desk, and so far the viewer assumes he is alone, until during a close up of the man's nondescript face is interrupted by a voice. The camera cuts back to reveal James Bond, reclining in the shadows in a predatory fashion.
Film noir-style under lighting is only bright enough to reveal parts of the characters faces, while all other things remain unimportant in the dark shadows. The close-up shots place importance on what they are saying to each other and the tension. Both characters are only shown together in one shot as their conversation gains a purpose, and the scene begins to crescendo, with grainy flashbacks referencing their conversation. These flashbacks include intense, urgent music as a fight is shown, juxtaposing with the quiet dialogue of the present scenario.
Finally, the flashback and present scenario mimic each other, as James Bond unexpectedly shoots both his subjects with a handgun, and in reference to earlier Bond films we see him through the barrel of the gun for his final killing. The death marks the end of the scene as red blood drips down the screen, creating the visual bridge to the start of the credits and Technicolour for the rest of the movie.
Dir: Martin Campbell
This was my first and favourite James Bond film, and is considered more 'gritty' than older interpretations and stylistically different. The first, pre-credits segment is an homage to film noir and spy films of the cold war era (the original James Bond era), and so is shot entirely in black and white. The first opening shot is from the ground up, elongating the long dark building, illuminated only by a bright street lamp. Mystery and suspense is implied by the use of this 'top' light as it adds shadow and a certain glamour, as well highlighting the smoke billowing across the street.
Time is shown seasonally, as there is snow on the ground, and when the character gets out of his car, his crunchy footsteps are loud and clear. More diegetic sounds are used to highlight this character's significance and air of suspense as he ascends to the top floor; the sounds of the lift, his footsteps on the tiles and the opening click of the door interspersed with non-diegetic tinkles of sinister music. The camera then pans as he cuts across his office to desk, and so far the viewer assumes he is alone, until during a close up of the man's nondescript face is interrupted by a voice. The camera cuts back to reveal James Bond, reclining in the shadows in a predatory fashion.
Film noir-style under lighting is only bright enough to reveal parts of the characters faces, while all other things remain unimportant in the dark shadows. The close-up shots place importance on what they are saying to each other and the tension. Both characters are only shown together in one shot as their conversation gains a purpose, and the scene begins to crescendo, with grainy flashbacks referencing their conversation. These flashbacks include intense, urgent music as a fight is shown, juxtaposing with the quiet dialogue of the present scenario.
Finally, the flashback and present scenario mimic each other, as James Bond unexpectedly shoots both his subjects with a handgun, and in reference to earlier Bond films we see him through the barrel of the gun for his final killing. The death marks the end of the scene as red blood drips down the screen, creating the visual bridge to the start of the credits and Technicolour for the rest of the movie.
Wednesday, 5 September 2012
Stuff
Recently I've been getting into foreign cinema, like 'House of Flying Daggers', 'City of God' and 'The Lives of Others'. A lot my favourites come from the 80s, mostly John Hughes films, but I recently saw 'Heathers', which should definitely be more of a classic. Probably the most interestedly bizarre film I've seen lately is 'Three Women' by Robert Altman. See it purely for the strangeness. I don't watch a lot of television because my attention span wavers, but recently I've been watching 'Bad Education', or something that comes on MTV. I listen to most kinds of music, or just XFM or Radio 1 depending on my mood, and at the moment I'm reading 'The Perks of Being a Wallflower' by Stephen Chbosky, a coming of age story which is being made into film. I find out about upcoming releases through Youtube, magazines or word of mouth, and here's one I'm particularly looking forward to:
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