Character Photos

Laura (left) and Louise (right) = the two babysitters

Hermione = the "child" they babysit

Jackie and Michael = Hermione's parents

These are the outfits Laura and Louise will wear for the film.  I think Laura will wear a black jumper though as it will look better in the first scene where it will be dark.  Hermione will wear black, typical goth clothes and make-up.  Jackie will wear a black dress and coat and Michael will wear a black suit and tie.

Digging Location

I am going to do the digging scene at the sand dunes in St Ouen because it will be easier to dig sand than mud.  Although it wouldn't be realistic to bury a body in sand, it will be quite dark when we film it so hopefully you won't be able to tell.

Laura will sit on the dark grassy part on the left of the photo above

UPDATE: Laura's parents have kindly said that I can use their garden for the digging scene.  It will be a lot better for the equipment as if it rains, we can go inside whereas at the sand dunes, we would have had a lot further to go.

In the introduction, Louise will sit in the hole and dig as Laura sits in a chair to the left of her.

Practice

I practiced some filming techniques and transitions then edited them on iMovie.

I experimented with sound effects and music and I really like the effects I created.

Other things I included are:

• Pan
• Whip pan (where Alice throws the pencil then it cuts to Louise picking it up)
• Crash zoom: The school camera can only do slow zoom and not crash zoom which I really want for my film so I zoomed in slowly on Louise's face then when I was editing I cut the clip in two: the first part was the zoom so I wanted to speed it up then the second part was where the zooming was finished and it was just a close up of Louise's face. The final product is pretty good but it could have been faster although the original zoom was very slow so in my final film I will zoom in quicker.
• Some of the pans I did seemed a bit slow so I sped them up on iMovie (like I did with my "crash zoom"). I will probably take off the sped-up sound in my final film but I quite like it here.
• I like scenes in films where the beginning of a shot has a loud, sudden sound so I filmed Alice opening a door and walking in the room. The first sound is the slam of her hands on the door, pushing it open.
• I filmed a phone and zoomed in on it really slowly then put in a sound effect of a phone ringing. I didn't have enough still footage of the phone at the beginning before I started to zoom in so I slowed what I had down a bit in the same way I sped up the clips earlier. At the end of the clip I moved the camera swiftly right because I was going to follow with the next clip coming from the right in a whip pan but I forgot. When I am doing my actual film I will plan very carefully so that I don't make mistakes like this. In the next clip where Louise puts down the phone but lifts it up for a second accidentally, I put in a very short audio clip of the phone ringing. This is something Edgar Wright sometimes does in his films (eg. in Hot Fuzz where Simon Skinner looks right at the camera accidentally so when Wright came to edit the film, he put in the sound effect of a cash register which is very funny).
• Three shot zoom: I whip panned from the left far away then a bit closer then a bit closer. Then I put them all together.
• I'm not sure what I was doing with the plant thing. I just thought it was funny.

Tzvetan Todorov

Tzvetan Todorov’s theory is quite interesting as almost every film I have seen sticks to it and I'm sure some of the people who made the films were unaware that it even exists because I certainly hadn't heard of it before now yet in every story I can remember ever writing has stuck to this simple pattern.

Todorov's theory is that a narrative has five parts. The story always starts and ends in a state of equilibrium but, unlike in something like The Simpsons, the final equilibrium is usually different to the beginning one.

The five stages:

1. A state of equilibrium
2. A disruption of that order by an event
3. A recognition that the disorder has occurred
4. An attempt to repair the damage of the disruption
5. A return or restoration of a NEW equilibrium

Location Photos

I went to Louise's house yesterday and took some photos of her living room, kitchen and hall because this is where I will be filming most of my introduction.

The main annoying thing is I don't think I will be able to fit the camera behind her TV because it is quite big and flat and there are a lot of wires etc. which would make it very hard to move. I could possibly hide the TV behind something and have a different TV in front which I could film behind. Louise has a TV that she said I could use that's only in the next room so we could easily shift it. Or I could add the TV in on the computer like I will be doing with my "wipe" transitions. I watched my Spaced clip again and I think that they probably did it on the computer anyway - I just need to work out the angle to make it believable.

Dolly/ Tracking Shot

On http://www.bbc.co.uk/blast/film I came accross this rather exciting revelation. When I saw and read about dolly/ tracking shots before I thought I wouldn't be able to do them because I don't have the equipment but this article explains how to do it without a budget. I think I could use this kind of shot when Laura comes back from getting the shovel, filming her back from her head to her waist as she walks into the kitchen then maybe the shot can continue and zoom on Louise's wee guilty face.

Zero budget tracking shot

How can I get the effect of a tracking shot while shooting on video, without all the kit and on zero budget?

When done well, tracking shots are great and can add a real sense of movement to your video. Of course, you don't have to spend lots of money on high-end tracks and dollies to get that smooth movement.
Some solutions that are actually regularly used by professional video and film-makers involve attaching their camera to some device such as a shopping trolley, a bike, and wheelchair, a car... In fact, almost anything with wheels!
It's important that they have rubber wheels as this is more absorbent of any minor bumps you go over. Often you won't see these in your viewfinder but on a television screen they become very noticeable. Also, the advantage of working with these 'ordinary' devices is that they are easy to get into small areas, imagine trying to do that with lots of professional tracks?
The only thing you may have to borrow or worse case scenario purchase is something that will firmly attach your camera to the trolley or bike. They're not too expensive and they will be important when trying to ensure that your camera is very securely attached to the moving device.

Wright Practise

I decided to have a go at the Edgar Wright techniques using the video camera on my phone because I didn't have access to a proper camera today as I have been at home ill. Hopefully I can use the school camera tomorrow and film some stuff using people and maybe do a little scene in which all the techniques are used. In my three phone videos I am alone in my room so the stuff I am filming is pretty boring and I moved a big black button in front of the camera for my wipe because I'm still not really sure how they are done and it seems to look okay. I'm pretty sure that wipes are done using effects on a computer after it's all been filmed and I've spent ages trawling the web for anyone who knows how the hell to do it but it seems nobody does. All the definitions I've found are describing something different - a really cheap-looking shape transition (circle, star, heart etc) which I will NOT be using in my film.

But here are my first attempts anyway...

THE WIPE

THE 3 SHOT ZOOM

Yes this is a rather attractive picture of Seth Rogen. It makes me laugh and freaks me out probably in equal quantities.

THE WHIP PAN

For my whip pan I decided to "add some interest" with my hand in the shot but it clearly looks very lame. Please forgive me. For the two "scenes" I differentiated between the two by having different lights on in each shot to make it look like two different locations.

Edgar Wright Techniques

In the next few days I hope to try out some of the Wright scene transitions and techniques hopefully using the school's camera.

PAN
WHIP PAN
WIPE
RACKING FOCUS
CRASH ZOOM

I had to look up the definition of crash zoom because Wright talked about it in a commentary for Hot Fuzz or something (I say "or something" despite you and I both knowing that I not only remember the film in which I saw/ heard this but also the time, place and reason why it happened. I am King of cool.) and I wasn't so sure how exactly to do it. The definition wasn't on my trusty Internet Movie Database website but I managed to find one on http://www.making-short-films.com/film_makers/?content_id=521 so here it is...

Crash Zoom
Rapid zoom in on a subject; also zoom-in and zoom-out, to move closer and move further away.

But I don't really undertand what they're talking about so I went on a slightly more reliable website, the good old Big British Castle and I found an even better definition WITH AN EXAMPLE on http://www.bbc.co.uk/blast/film/articles/film_dictionary.shtml

Crash Zoom
A zoom shot executed at great speed usually from a mid-shot or long shot to a close up. Example: Woman steps into room sees a decapitated head crash zoom from a mid-shot of her to her face screaming in horror. Tend to be a bit of a cliché but effective if used sparingly.

This would be so perfect for when Laura sees Hermione on the floor either when she is supposedly dead or after she has got the shovel and is actually dead after Louise has hit her over the head with a frying pan. I was previously thinking of just having a sudden close up of her shocked and confused face but maybe a crash zoom would be even more effective in conveying her startled reaction. Or maybe I'll have a crash zoom instead on Hermione's body at either or both times.

As I was browsing this particularly helpful BBC website I noticed some other termionlogy that I think will be helpful when writing about my shots etc...

Cutaway
Usually a close-up shot that is spliced into the middle of a sequence to break it up eg. two people are talking , close-up of a phone as it rings, back to the two actors who hear the ringing phone.

Dissolve
A type of transition between two shots. The first shot fades away as another shot fades in. Film dissolves are done at the lab in the printing phase. Digital dissolves can be done on computers with most editing packages.

Fade
A type of transition. When the shot gradually becomes darker to black it is a 'fade out'. When the shot starts off black and then gradually becomes brighter it is a 'fade in'. Film fades are done at the lab in the printing phase. You might also fade in or out of white. Most digital editing programmes can replicate the same effect on a computer.

Dolly Shot
Also known as a 'tracking shot'. The camera is placed on a 'dolly', a wheeled cart on tracks, and is moved while filming eg. side on view of an actress as she walks along a street.

I found yet another website (Google is a wonderful creation) http://www.mediaed.org.uk/posted_documents/Filmterms.html where I got this fine chunk of lively information. I know it's a lot of text I've just pasted so you can skip the blue but it's all helpful and relevant so I can come back to it when I need to.

Very long shot/wide shot
A shot in which figures appear small in the landscape. Often used at the beginning of a film or sequence as an ‘establishing shot’ to show where the action is taking place; also used to make a figure appear small or isolated.

Long shot
A shot in which a figure can be seen from head to toe.

Mid shot
Shows the figure from approximately the waist to the head. In a mid shot, you can easily recognise an individual but you can also see what they are doing with their hands.

Medium close up
From chest to head Close-up Head and shoulders, enabling you to easily see facial expressions, so you can see what characters are thinking and feeling

Big close up
Head only, used when expressions are important

Extreme close-up
From just above the eyebrows to just below the mouth, or even closer: used to emphasise facial expression or to make the subject appear threatening.

Camera position
Where the camera is in relation to the subject.

Low angle shot
The camera points upwards, usually making the subject or setting seem grand or threatening.

High angle shot
The camera looks down, making the subject look vulnerable or insignificant.

Bird’s eye shot
Looks vertically down at the subject.

Two shot
Any shot with two people in it

Point of view shot
A shot from a character’s point of view

Reaction shot
A shot showing a character’s expression as they react to something

Noddy
A type of reaction shot used in interviews, where we see the interviewer apparently reacting to the interviewee

Over-the-shoulder shot
A shot in which we see a character over another’s shoulder, often used in interviews or dialogue.

Lighting
Lighting can be high or low contrast and can vary in colour and direction.

High-key
The lighting is bright and relatively low in contrast ­ often used for Hollywood musical comedies.

Low-key
Much more pronounced shadows and dramatic contrasts.

Lighting from below
This can be used to make a subject appear threatening or horrific.

Backlighting
Produces a ‘halo’ effect around the edges of the subject.

Colour
Cold or blueish lighting can convey a sense of cold, alienation or technology, while warm or yellowish lighting can be used to convey comfort, sunset and so on. If colours are very rich and intense they are described as saturated. Black-and-white or sepia can be used to show that a scene is set in the past, or to suggest sophistication.

Sound

Diegetic sound
Sound that we think is part of what’s going on on the screen ­ horse’s hooves, the sound of thunder, and so on ­ even though many of these will have been added later by a ‘Foley artist’.

Non-diegetic sound
Sound that we know is not part of what’s on screen, such as music (unless there's an orchestra in shot!) and voiceover.

Sound bridge
This uses sound to link two scenes, by having the picture and the diegetic sound change at different points. Usually the sound from the second scene is heard before we start to see the picture from that scene.

I have been looking on websites recently to see if I can dowload or purchase sound effects clips or CDs because Edgar Wright uses a lot of over-the-top sound effects which liven up even the most boring of scenes. In Shaun of The Dead he makes Shaun going to the loo, brushing his teeth and eating toast into an exciting and thoroughly enjoyable few seconds' viewing. He does this through exaggerated sound effects, extreme close ups using crash zoom and really quick, fast-paced cuts. I'd love to do a sequence like this in my intro. Wright comments on his use of the "echoey door effect" saying that he uses it to death in Hot Fuzz. If I could somehow get hold of that effect I'd really like to use it. In Shaun I particularly remember the bit after the syncronized beating of Mary and The Hulk where the scene suddenly cuts to Shaun and Ed sitting on the sofa with a cup of tea and a cornetto. I love Shaun's expression here and it's made all the more comedic with the use of the "echoey door effect".

Age Certificates

I have been researching film certificates as I am not entirely sure what age people should be to watch my film. Shaun of The Dead is a 15 but I don't want to use such strong language and violence/gore. However I think the idea that I am killing a 14 year old girl in my film would be unsuitable for 12 year olds, especially as I am planning to make light of the situation a bit with comedic elements and jokes. I don't think I would take that very well as a 12 year old and I need to set an example. Children these days are so used to seeing death and suffering on the television and in films (I particularly disagree with the 12a certificate of The Dark Knight as the film contained a lot of psychological and physical torture and pointless killings that I don't think 12 year olds should be exposed to) I don't think they are as affected by it anymore so the less they see of it, the better in my opinion as they are slowly becoming immune to it all and I'm sure they will start to think that it's okay to do these kinds of things.

But enough of my Mary Whitehouse-style rant. Basically I think my film should be a 15 as it would be irresponsible of me to let younger people see it - especially as I started watching 12 certificates when I was 9, 15 certificates when I was 12 and 18 certificates when I was 14 so probably a lot of younger people would see it anyway.

Here are the guidelines on a 15 certificate from http://www.bbfc.co.uk

Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.

Language
There may be frequent use of strong language (eg 'fuck'). But the strongest terms (eg 'cunt') will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.

Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.

Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.

Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.

Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.

Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.


Here are the guidelines for a 12a film to compare...

Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.

Language
The use of strong language (eg 'fuck') must be infrequent. Racist abuse is also of particular concern.

Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.

Sex
Sexual activity may be implied. Sex references may reflect what is likely to be familiar to most adolescents but should not go beyond what is suitable for them.

Violence
Violence must not dwell on detail. There should be no emphasis on injuries or blood. Sexual violence may only be implied or briefly and discreetly indicated.

Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail or appear pain or harm free. Easily accessible weapons should not be glamorised.

Horror
Sustained moderate threat and menace are permitted. Occasional gory moments only.

Drugs
Any misuse of drugs must be infrequent and should not be glamorised or instructional.


If I were to give my film a 12a certificate I would have to be very wary of the parts on violence and imitable techniques:

"Violence must not dwell on detail. There should be no emphasis on injuries or blood."

and

"Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail or appear pain or harm free. Easily accessible weapons should not be glamorised."

I would not "dwell on imitable detail" but I would like to have Shaun style weaponry which could be imitated by children which is a big concern of mine. When I watched Shaun of The Dead I must admit I had a pretty strong urge to don a cricket bat and go round fighting zombies so I'm sure a younger audience may have similar desires.

Anyway I think that's it. I didn't look under the 18 certificate as my film will hardly even be crossing into the Shaun territory let alone something as violent, psychologically disturbing or drug-oriented as Goodfellas, Hard Candy or Thirteen.

Shot for film

I was watching Spaced (a British sitcom directed by - yes, you guessed it - Edgar Wright) a few days ago and I saw a shot I thought would be perfect for my film to go from the digging scene at the beginning to the scene in the house.
Hermione can be sitting watching TV or playing playstation (like Tim in the clip) then her parents can come in and talk to her. The exterior shot of the house in Spaced would be of Laura sitting on the wall with Louise digging then follow on into the babysitting house scene.

Film Idea

I have decided to make a film shot in the style of Edgar Wright about two babysitters who accidentally kill the girl they are meant to be looking after. It is a comedy so the humour has to overpower the horror of the death of a child. 

Here is a list of the as yet unnamed characters and the people playing them:

Babysitters - Laura Anderson and Louise Eden

14 Year Old "Child" (possibly named Prudence) - Hermione Pratt

Child's Parents - Mary Eden and John Anderson

I will take photos of these characters (and my locations - which I'll talk about in the next paragraph) in costume when I have a chance in the next few days or so.

Now here is how I want my introduction to look although I will probably change a lot around but I'm thinking about doing my storyboards pretty soon as I know what most of the shots are going to look like. As for the locations, Louise has kindly agreed to let me use her house for filming in but I don't know where I will film the "digging" scene at the start yet. I can picture the place in my head but can't imagine anywhere in Jersey that looks like it so perhaps I will have to just make do with anywhere I will be allowed to dig body-sized holes in. At the moment these are the only two locations I need for the intro but this may change as I write the actual script and possibly add flashbacks or something. Anyway the next paragraph is a basic (or sometimes painfully detailed yet strangely indecipherable - please be patient and await my storyboards if these bits really make no sense) outline of my intro....

The film starts with the film studios' logos (I'm thinking Universal, Working Title and Studio Canal - the ones backing Shaun of The Dead and Hot Fuzz) and the sound of digging, nothing else. After that the digging continues but a close up image comes on screen of a 16 year old girl (Laura) who is sitting outside in the dark smoking a cigarette. A voice-over starts. It is Laura's speaking, talking about what has happened, not giving away too much. During this voice-over there is a shot showing a new character (Louise, also 16), knee-deep in a ditch she is digging. Louise is on the left of the screen and Laura on the right, further away from the camera, sitting on a low wall.

The scene and voice over ends with Laura saying something like "It all started when..." or "It's quite a funny story actually..." or something like that - but not so cliched.

The next scene starts with Hermione sitting on a sofa watching TV in her house. Her parents are fussing over her before they go out to dinner (they are dressed in posh clothes), leaving her behind with Laura and Louise. Hermione is 14 so it is supposed to be ironic that she in fact is legally allowed to babysit other children yet she is being babysat herself. Her parents are very over-protective. I am thinking of then having a quick Edgar Wright-style montage kind of thing with the two babysitters ringing the doorbell, parents saying goodbye, closing the door, babysitters sitting down on the sofa etc. all in quick succession to make the awkward silence after even more intense (Hermione tries to ignore them most of the time and continues to watch TV, turning up the volume every time they try to speak to her). Louise is "the stupid one" (oh, the comedy) and thinks that she's coming to some kind of sleep over so turns up in her pyjamas and brings a teddy bear etc. - Laura wears a t-shirt and jeans.

Laura is eager to help and do stuff for Hermione so when she says she wants some cereal, Laura is happy to help her and as they go to the kitchen and open the cupboard, Laura knocks Hermione out with the door.

Louise will be eating in as many shots as possible - when they see that Hermione is dead there will be a close up of her head and shoulders then she slowly raises a chocolate bar to her mouth and takes a bite then Laura hits it out of her hand... which will hopefully be quite funny because you won't be expecting it as the atmosphere would be quite tense.

Laura checks Hermione's pulse and announces that she is sadly deceased.

She is panicky. Louise is too stupid to react so just stands there, not really getting it.

Then there's a little bit of dialogue that goes a little something like this:

Laura: "I'll go get a spade"

Louise "What for?"

Laura (dramatic zoom in) "We're gonna bury a body"

Then a quick montagey bit of Laura leaving the room, turning on the light of a messy storage room, looking around, grabbing a child's plastic sand castle spade from a dusty corner, turning off the light again then she hears a noise from the kitchen. It all slows down a bit as she walks cautiously towards the kitchen (dolly/tracking shot all the way showing the back of Laura's head/shoulders and what's in front of her). She turns and sees Louise standing over Hermione's body, holding a bloody frying pan and breathing heavily. She had "panicked" when Hermione woke up so grabbed the first thing she could find and hit her over the head with it. There is now a pool of blood around Hermione's head.

I think this will be where my filming will end as I don't want it to be too long. I am happy with this introduction and now I have to do a proper script and storyboards so that I can really set this straight in my mind.

Preliminary task

In this video I filmed two of my classmates (Amy and Lottie) having a "job interview". I didn't write a script so they improvised the whole thing but had to try and repeat it about 5 times for each camera angle so it was really nice of them to do it for me!

I edited together a much longer version but I realised Amy had mentioned the slaughter house twice and there was no way of editing it out without deleting two whole chunks of Q&A. It reminded me how important planning and having a script is to making it all look smooth and professional.

For filming I used a camera on a tripod so it wasn't shaky like my first video. I tried to fit in lots of shots and angles like in my first film and I think it flows quite well.

For one bit of the video I extracted the audio from about 2 seconds of Amy's dialogue and put in a reaction shot of Lottie while Amy is still talking in the background. I thought it would be really complicated but once you know how it was quite easy and I am very happy with the results. One problem I had with it was I deleted the visual clip of Amy instead of putting it with my other unused clips. I saved it then watched the full video back and realised I would have preferred to put the reaction shot a bit further on but because I had saved I couldn't get the clip of Amy back. I must remember now to NEVER delete clips until I am 100% certain I will not be using it.

Despite my problems I am happy with my final video and am confident that things will run more smoothly in my final film introduction.

First attempt at editing

In this video I filmed Louise walking outside and opening a door then doing some more walking inside the building. I tried to get in as many different camera angles as I could to make it look professional and interesting. I haven't yet tried to do the Edgar Wright techniques I have discussed previously in this blog but I was trying to give this video a bit of an Edgar Wright feel with the fast-paced, quick editing and movements (especially the close-up of opening the door). I think I did quite well in holding the camera still considering it was a hand-held one although there are a few shots that are a bit wobbly (eg. the feet shot) but hopefully that won't happen in my final film as I will probably be using a tripod.

Another concern I have is lighting. The parts filmed inside the building are very dark and you can hardly see Louise. Hopefully I will be able to have some lights in my final film if I decide to use dark locations like this.

Partnership Update

Louise and I were going to work together on this project but we eventually realised we both wanted to do different things. I really hope we can still help each other on our seperate projects though. Louise is now doing a music magazine which is what I expected from her in the first place as music really is her thing - especially old music that most people our age haven't even heard of!

Anyway yeah. Just a little update on that.

About A Boy

I LOVE About A Boy. It's so sweet and has such a lovely story but is also laugh-out-loud funny at times. The humour isn't as obvious as in something like Hot Fuzz where the humour is straight-out jokes a lot of the time. This film, like Juno is more about the comedy of the characters themselves and their reactions to things that perhaps aren't necessarily funny to begin with. Hugh Grant's character Will often makes light of rather serious situations and tries to make a joke out of them eg. after Marcus's mother's attempted suicide. However it is never so grossly inappropriate that it is not funny. A lot of the characters do not react to his jokes - rather like Jennifer Garner's character in Juno who doesn't seem to understand Juno's sense of humour. The two films are very similar in this way and this seems to make the audience feel closer to Will and Juno as they are the only ones who understand their jokes.

In the opening scene of About A Boy, Chris Tarrant's voice on Who Wants To Be A Millionaire can be heard before any image is shown (you can see this by watching one of the videos below). This creates quite a tense atmosphere as the audience (of the film) will be wondering why this is relevant (whether someone relevant is actually on the game show etc.) also the actual music of the programme is designed to create tension, as is the situation (will they get the right answer and win the money? etc.). I like this effect of creating tension. It would be particularly effective in a thriller. I remember the technique being used at the beginning of The Machinist and The Bourne Identity (which I wrote about in a previous post) as well.

I really like the use of voice overs in this film, especially the ones in the opening scenes (below) of Will and Marcus. It is just as effective as the voice over in Hot Fuzz even though not as much is explained, just suggested. It's more like the two characters' philosophies on life than any actual explanation. Speaking of which I really like the way the two peoples' lives are contrasted in this way. The lighting is very important here as Will's bit is lit very brightly to show that he's happy with his life and Marcus's bit is very dark and gloomy to show his sadness at his mother's depression and being bullied at school. I will need to think about lighting in my film as it creates a certain mood (like in The Bourne Identity where Bourne is talking to himself in the mirror - good effect, looks mysterious) which is quite an important thing to portray to the audience - to let them know how light-hearted/ scary/ comedic etc. the film is going to be.

In the same way the lighting defines the two characters, the music (by Badly Drawn Boy) also helps tell the stories of Will and Marcus. When Will is on screen, the music is light-hearted and happy but when Marcus is on screen it is the same music, the same tune but it slows down and is more quiet and sad. This music theme goes on throughout most of the film: Will = happy, Marcus = sad.

The clip below is in Swedish or something but you can still get the general idea of how the voice over thing works and the lighting, music etc.


This video (below) has the Will voice over bit in English but doesn't have the Marcus bit which is annoying because as I said before I like the contrast of the two lives.


There is a shot near the end when Will runs across the school playground to stop Marcus from singing in front of the school. The shot is of Will running diagonally across the screen and I think it is really effective. It reminds me a bit of in The Machinist where Trevor Reznik walks across a car park (just before he meets Ivan for the first time). It is a wide shot (if that's what you call it) and he walks all the way across the screen. It takes quite a long time but for some reason it is just really effective. In About A Boy Will is running and doesn't take very long to cross the screen but you can see the resemblance.

A scene I also like in About A Boy is when Marcus follows Will going to the shops etc. I particularly like the way it was shot. It just look good. To see what I'm talking about click on the link below (for some reason my lame computer won't let me copy the embed code so you gotsta watch it via the link)

http://www.youtube.com/watch?v=N_sVsmZfQKE

As I may have mentioned before, I LOVE this film. I definately want to recreate the kind of feel of the whole movie: like the cuteness and stuff.

Ok this is starting (hah yeah only starting now, what a joke) to sound really unprofessional now so I'm going to stop writing and go away to think about some ideas for my film.

Juno

I watched Juno for the first time yesterday and I absolutely loved it. It was so clever, so original and so adorable! I like the sharp, witty dialogue and quirky language and slang. It's not one of those stereotypical American High School comedies. It's much more clever, much more real than most of the films like that that I've seen. Although the characters are American and their culture is a little different to ours, I felt I could really relate each of them and empathise with the situations they found themselves in.
The bit at the start with the credits was great and I've put a link below to have a look. It's kind of cartooney and reminds me a bit of A Scanner Darkly but not so eerie and weird. The graphics are really innocent and sweet like a child's wallpaper. I think maybe it represents Juno leaving her childhood behind as she embarks on her journey into adulthood/ the corner shop. Even without the cartoonishness (yeah, I'm pretty sure that's a word) it would still be a pretty good opening and I was thinking the other day that maybe the beginning of MY film could start with a walking sequence so this is great inspiration.

http://www.artofthetitle.com/media/film/2007/juno.html?keepThis=true&TB_iframe=true&height=526&width=864

As for the direction in the rest of the film, it's all good but nothing in particular really stands out for me. The actors are exceptional and the sets, props and wardrobe are perfect. But I felt I just had to write a little bit about this film as it is now definitley one of my favourites.

More Film Terminology

Wipe
An editing technique in which images from one shot are fully replaced by the images of another, delimited by a definite border that moves across or around the frame

Another Wright technique which I actually guessed right in my Hot Fuzz post (although didn't explain QUITE as well as IMDB).

Racking Focus
A shift in focus between planes at different distances from the camera within the same shot.

I know what these shots are and I would recognise them but I would really like to learn how exactly to do them because I find it hard enough to focus with a normal camera to take a simple photograph.

Reverse Shot
AKA: Reverse Angle, Hollywood Reverse
A shot taken at a 120-180 degree angle from the preceding shot. When used in dialogue scenes, reverse-shot editing usually alternates between over-the-shoulder shots that show each character speaking. See also shot/reverse shot.

I have seen these kind of shots in practically every film I've watched. In the first conversation scene in Hot Fuzz this technique is used but between lots of other techniques to make it more interesting and have a bit of variety.

Whip Pan

I just found out from http://www.imdb.com/Glossary that Edgar Wright's fast out-of-shot-then-back-in-the-same-direction-scene-change-thing is called a "whip pan". Exciting. The exact definition on the Internet Movie Database is...

Whip Pan
AKA: Whip-pan
An extremely fast pan, incorporating much motion blur. The term refers to the "whipping" action that the camera operator uses to move the camera.

and then I had to look up "pan" because I wasn't 100% sure what THAT was so here's that definition too...

Pan
The action of rotating a camera about its vertical axis. See also tilt.

OK, glad that's cleared up. I'll continue to browse the IMDB for more terms I can use/ post to prove my inimatable intellectual abilities.

The Bourne Identity

I watched The Bourne Identity yesterday and I loved everything about it especially the story which was exciting and had me on the edge of my seat from start to finish. The direction was great as well: I really liked the opening sequence with the sound of thunder over the film studios' logos and the flashes of lightning with a shadowy silhouette floating on the water in the first shot. I also really like the way the words of the title of the film come up in flickery blue text and appear in a series of lightning flashes.
I like the bit where the old man on the boat cuts up Bourne's wetsuit because it is really close up so you're not quite sure what is going on. I also like the long silence while the man does this then the sudden "What are you doing to me?!" from Bourne. This sudden shock is not as effective as in a lot of films I have seen that use this technique but I still like the way they used it in this. (Strangely the best example I can think of from another film off the top of my head is Harry Potter and The Prisoner of Azkaban where Harry is walking up to Prof. Trelawney's room in silence to replace a crystal ball then she suddenly comes in and suddenly starts talking to him. Chilling.)
When Bourne is talking to himself in the mirror you can see the reflection of a big round light which illuminates just a tiny sliver of his face and jacket, the rest of him in darkness. I love the high contrast and bright light which makes the shot look a lot more interesting than if it were just lit as though in daylight. Another shot similar to this is when Bourne is on the train and you can see his reflection in the window.

Like in Hot Fuzz, there are a few scenes where the beginning or end of a scene starts/ finishes with a fast, loud motion or sound. In The Bourne Identity, someone bangs a plate down on the table at the very start of a scene on the boat and later on when one of the bosses comes out the lift, the scene starts with the "ding" of the lift. There is also a scene that closes with the slamming of a car door. An example from Hot Fuzz is where Angel clicks his pen and the scene ends. I like this as it is a nice way to start/ end a scene and it adds variety so the film doesn't get monotonous.
In this film there is this one shot where Bourne has just got off the boat that rescued him at the beginning and is walking down the road in the middle of the screen. The camera is still and he walks towards it, getting closer then when his head and shoulders are taking up most of the screen, the camera pans right as he turns and walks down another street and the camera stays still as he walks away. I really like that because it's different and looks good and you get to see different angles in one long shot. It's a bit weird though because at the end of the shot where he is facing away from the camera and walking down the road, a car passes behind him and when it has left the screen Bourne has vanished with it.

I am not very good at talking about music in films (or, arguably anything else, judging by my blog so far) but to breifly comment on the music in one particular scene, Bourne is at the bank in Zürich. The score is quite quiet and soft but as he starts looking at his papers, passports, money, gun etc, the music becomes louder, more urgent, with violins and drums where there once was just a quiet piano. He is beginning to discover who - and what - he is.

To conclude, a lot of the comments and analysis I have written here I will refer to when making my film introduction. I will hopefully use a lot of the ideas, camera angles etc. but I don't think we will actually be making a thriller, hopefully just a film shot like one.

Hot Fuzz

Hot Fuzz is one of my favourite films and I have always admired both the fast-paced direction and the funny but very clever script. Louise and I watched it a few days ago and wrote notes on all the things we liked about the opening sequence and the next few scenes that followed...
The thing that stood out straight away was the rather slow start of Sergeant Nicholas Angel walking briskly accross the floor in silence, his footsteps echoing loudly around the large room. This slow start is quite long and monotonous but creates tension and makes the viewer curious as to who this person is, what they are doing etc. This scene also shows a great contrast to the next scene which is fast with lots of short, speedy shots.
At the very beginning as the film studios' logos are being shown, you can hear the sound of the loud police sirens which tell you immediately that this is a film involving police. Sgt Angel is also introduced almost immediately and his whole career as a police-man-officer is shown all in the first couple of minutes. Martin Freeman's voice over plays a huge part in the illustration of the story here as it tells you what is going on as the images of Sgt Angel doing various duties as a P.C. are very fast-paced and would have been hard to understand without this narrative.
Louise and I would really like to make a film where the main character(s) and/or the plot/setting etc. is introduced in a similar way.
I really like Edgar Wright's "screen wipe" technique where a shot is "wiped" off the screen to reveal the next one. Sometimes it is supposed to look like a figure walking in front of the screen to then show the next shot and others it is just a sort of swipe across to move closer on an object via another, closer shot. It is hard to explain but hopefully Louise and I can try out this technique in a few days' time as a practice because if we can manage to do it properly we would love to use it in our final film.
Another of Wright's shooting techniques (also hard to explain - hopefully I can describe more fully when I have learnt the correct terms) is where a shot is about to end then the camera is moved swiftly either left, right, up or down then the next shot (sometimes a different location/scene) continues with this motion in the same direction. If you have seen the film you will hopefully know what I mean!
To continue talking about the introduction with the Martin Freeman narrative, I like the quick shots of Angel walking. There are lots of shots all together to show he is walking purposefully, proffesionally and fast...ly.
All the focus is on Angel and most of the time - mainly close up shots - the extras and minor characters are blurred/ out of focus. This shows that Angel is the hero and also perhaps that he is better than them at all the activities.
In the scene where they are running through the blue punch bag things there are cross dissolved shots and also when Angel is handcuffing someone this same cross-dissolving technique is used (this technique - along with many others - is coincidentally shown in this trailer below).




I like the way shots/scenes are changed by eg. the clicking of a pen, projector remote, camera flash etc.
I like the characters' quirky facial expressions which add to the comedy of the script. The unrealistic and sometimes verging on surreal elements of the film eg. the time scale where Steve Coogan's character enters the room just as the phone is being dialed.
Sound is a massive factor in the success of this film. All the sounds are exaggerated. There is even a swooping kind of sound in the "screen wipe" scene changes and Wright's shooting technique #2 to add more movement and set the pace.


I could go on all day about this and if I think of anything more that could be relevant I will post another blog but for now I'd better save the poor souls who have to read this and stop my rambling.

One of the many quick, short shots in the scene where Angel travels to Sandford. Each shot has a different sound (trains, cars, phone etc.)

Minor characters out of focus, all focus on Mr Skinner, the villain.

Start of Media Course

In our first few lessons we watched other students' work from past years and the openings of thrillers and horror films. When Louise and I discussed the clips we had seen after, we both agreed that we would prefer to look more at the action-comedy genre as this is the type of film we like to watch ourselves.
We enjoy the thriller-style direction and comedy elements of Edgar Wright's films. The fast paced opening sequence is particularly effective.
We also watched "Shaun of The Dead", "Hitchhiker's Guide To The Galaxy" and "About a Boy". We really liked the comic timing of "About a Boy" and the special effects and comedy in the other two films.