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.