WRITING A FILM NOIR SCENE

2. INT. Office unknown. Dull lighting / Night.

            Mid shot from behind detective’s back, showing the Mis-en-scene. Slowly moves toward him. His head slightly bent sideways, smoke emerges from below. Sound of clinking glass.

3. Close-up only showing his face below the eyes. He takes a sip of drink. Smoke invades the frame.

4. Close-up of door, matching a knocking sound.

5. Close-up of detective from his front.

DETECTIVE

Come in!

The door opens, his face sharpens seriously, he leaves the glass on the table.

                                                            DETECTIVE

Yes…?

6. Close up – Low Level Angle, of a woman’s legs walking towards the desk, slowly and seductively. She stands still for a moment, then sits on a chair. Camera still, focused on her back, Detective’s face is seen in frame, behind the desk. He stares still.

DETECTIVE

Lady?

7. Close up of her face, looking melancholic, head tilted sideways, eyes focused on nothing.

WOMAN

May I have a cigarette, detective?

8. Two-shot from her back, displaying in the middle, a table including bottles and cigar holders, and an ash tray.

DETECTIVE

Well I don’t think that’s gonna be the case unless you tell me what this whole is about, do you know what time it is?

9. The two-shot changes perspective to his back, showing her face. She remains in silence for some cold seconds.

WOMAN

I’m sure you’ve heard about… about this… person wondering around, right?

Camera fixed on her face, she looking down in what seems anguish.

10. Two shot from her back, showing detective’s expression, which is nearly of a laugh

DETECTIVE

What do you think we dedicate to at here darling?

The camera fixed on him. He starts a mid laugh and takes a sip of drink.

11.Close-up of her face. Slightly Dutch angled in horizontal level with her tilted face. She sounds stressed.

WOMAN

I know it seems absurd detective, but I am fearful about the situation…

12. Close-up of a man  surrounded by shadows, standing near a door.

DETECTIVE (Voice-Over)

Excuse me lady, you know I have not got the time for this nonsense of the woman in despair and the gentleman who offers to help.

13. Close-up of her face. Slightly Dutch angled in horizontal level with her tilted face. In an icy voice.

WOMAN

It’s… He’s my husband…

DETECTIVE

What about him?

WOMAN

He’s the one in charge of the murders around here, I’m afraid I’ll be the next, or… who knows…

14. Close-up of detective’s stone face, serious mood.

DETECTIVE

That’s… another story, tell me about him, where is he?!?!

15. Close-up of her face. Slightly Dutch angled in horizontal level with her tilted face. She is about to break in a cry, her voice fractures.

WOMAN

I’m afraid he… he is the one who brought me here. He’s outside, at the car… Help me! (whispers)

After two presentations of the work which went on satisfactorily, we can conclude on some points, as the fact that the first presentation was key to developing the documentary into a more sophisticated one, listening to the critiques from the other groups. We had to cut off scenes who's audio was far too distorted and loud due to the live filming at the streets, include subtitles, include a soundtrack which I managed to download, and insert another B-roll footage at the start of the documentary.

After the second viewing (the official one) we had also final cuts to make, which we are currently developing, as including music on selected parts, cutting off rough edges which seem lagged, and shortening specific B-rolls.

We have managed to create a jounalistic, proffessional texture throughout the short documentary, because of the formal interviews, key B-roll, and straight forward phrases which convey directly what the film is about, as:
"There is no solution to this problem..."

Character Representation - Brad Pitt

The "new" masculinity, represented by Brad Pitt, differs from the old one in the sense that it is based on esthetics and physical appareances. It presents a blond, pretty looking young man who has an equally attractive girl, a modern camera and a car. The image portrayed is one of a sexual man, compared to the traditional man figure of the Malboro Man: a tough, rural person, who represents strenght and freedom in the sense of the open realtionship with nature. Instead, this modern model illustrates a more idealized, fashionable stereotype of masculinity, appealing for a more comercial trend.

Brad Pitt is given an image of a perfect family man, a caring husband who loves his attractive wife, in the sense they have been together since highschool, showing a high commitement. He is charismatic with the dogs and is equal with her as they get swiftly along and jokingly insult each other, matching the image of this new masculinity, this symbol of a caring, dedicated man who is not afraid to demonstrate his emotions. 

Se7en

It consists basically of a detective (a cop drama) movie, blending with influences of:  thriller,  represented in the constant tension created throughout the film in a nearly claustrophobic way; mystery, shown in the solving of a complex crime; serial killer-horror in the display of extreme gore of the crimes and their brutality; also, the influence from Noir mood or movement is very clear (although this is not a genre), as the atmosphere throughout the whole movie is a dark, menacing one. In cop drama conventions, we see both stereotypal characters being the experienced and the young one, and the contrast between them.

Seven = Noir Conventions

The ambience presented in the movie is a typical Noir environment. This is one of an unknown city (stereotypal, allegorical-style, portrayal of a general situation), in where the climate is always rainy, there is a heavy contrast of dull lighting and strong bluish-white artificial light creating a cold, metallic atmosphere detached from sentiment. A world of crime and murder is portrayed (for example, by the presenting of the newspaper headlines, or the anecdote told by Somerset), one lacking any morality, in which even schools are corrupt. The fabric of this society is one based on a horrible reality.

Labyrinths are presented throughout the movie following the Noir conventions. They convey the situation in where the characters are lost, unguided and without an exit. Examples are the Dutch shot of the police department building (notice the Dutch shot creates the effect of an unbalanced, corrupt world, lacking moral equilibrium), or the persecution scene in which the characters find themselves confused in the building corridors. Quick editing (rapid shot change, closed framing, dynamic camera movement) convey this effect of losing oneself, at a physical level, in where they are disoriented in a persecution, and as a more deeper analysis, in which they are devoid from purpose and meaning in the presented world and situation.

There is a constant diagetic noise of screamings and traffic from the street, which creates this oppressed setting in where crime and the urban underworld lurk from every corner. This is reinforced by the non-diagetic sounds: a high pitched orchestral sound makes its constant prescence throughout almost every scene, adding to this dense, charged up atmosphere.

The presenting of characters is also typical of Noir conventions. A serial killer is portrayed, and two detectives which are ment to be compared

Tarantino Textual Analysis

A portrayal of elegance involving the drug use: white lighting showing in a close-up a display of only the needle and the drug objects, GLAMOUR, TEMPTATION slow-motion ritual of loading and shooting, dynamic and attractive image + VISUAL IMPACT crude scene. Sharp and slow music, provocative, very sharp, distorted (minor chords, harmonic minor scale) Feel: SEX, DRUGS, EDGY MUSIC.

No narrative built up at first sight, but then they are connected.

Angles: Dutch angle on the druggie's house, ankward shot in where he is cut in half on the left frame but his missing half is seen on the mirror. Low angle. 

Close-ups on the drugs: Importance on them over their trivial car conversation

Costumes portray the characters (Lance's costume), and mise-en-scene: the set shows the hippie-like ambience of the house, conveying the sense of Vincent's addiction. Outcasts of society, piercing conversation. CONVENTION OF CRIME GENRE. (See the Dutch shot)

Editing showing both Vincent's pleasure face by close-up with the elegance of the drugs, also in close-ups. The Vincent's driving shots are shaded, portraying

CONNECTION/CONTEXT: "Madman" heroin which Mia shoots as cocaine after, overdosing and causing trouble in the plot.

Contrast in use of shots: Mid-shots showing Vincent and Lance in a trivial conversation, but Extreme Close-ups when showing the druggie preparing the drug.

SUBVERSION OF CRIME GENRE CONVENTIONS: Lance's place, a rather normal, mundane house, a typical environment, ahowing a more real scene.
-Not an exotic place: daylight, normal house, druggie relaxed and on bath robe.
-Vincent is not glorified, talks about someone ruining his car, and in an ankward moment talking about Lnace's wife.
-Relaxed, real-like ambience, no tension created on storyline, no conventional danger and dark-mood
-No heroism or morality (or inmorality) pronouncement showed, as the studios pastly asked for
-In the whole movie, not a single cop is shown, no law, only the "bad" side of the law is shown

CONVENTIONAL FEATURES: -Drug use, sex talk

Production Journal: Post Processing

Deadlines seem to be far too near but systematic and efficient work solves the problem, although work is tough and time consuming: I have been involved in the transcribing of interviews from video to paper, which I have now selected and grouped toghether according to their content, for example:

-Sensations which people feel about the insecure situation

-General opinions about the situation

-Probable causes for this dilemma?

I have transcribed the quotes which seemed to be able to have a greater impact on the audience, although some of them may well not be used in the final cut.

I have also been creating a general storyline, which, together with the sequence of quotes and the transcription of those, will be finished for tomorrow, in order for our editor, Honorio, to be able to work efficiently according to a plan.

After the presentation of the rough cut, I am going to be heavily involved in creating english subtitles for the quotes

Although the deadline for this rough cut (next thursday) is very near, efficient and organised work can deal with it properly and meet the task, we will be relying on our own organisation now.

Production Journal

I have been, as a scripwriter, translating all of the lines I think could be used in the final project from the interviews. I focused on the impacting and catchy lines, also managing to pick some which could be used together with similar ones from other interviews.

An example of this is the answer to their feelings, to which many of them answer with "fear" or "helpless"

PRODUCTION JOURNALS - becoming more analytical

Watch the student film, "Treehouse". Initial comments as to its strengths/weaknesses?

The film quality was remarkable, including the election of music, sonic and visual purity, editing artifacts. The storyline wasn´t ideally attractive and the project was far ambitious, but the filming was excellently done. Maybe, a couple more of shots, as establishing ones, could have been used.

 Read the commentary extract from the director's production journal. To what extent does it meet the guidelines above?

The journal gives some evidence of the work done, including graphics and stills, but there are areas unexplored, as the inclusion of the storyboards, which is not analysed. All production stages are commented on, including the meaning of the election for some costumes, music, characters, etc.


For US: We should become far more specific, including graphic displays, examples, and analysis of meaning.

Production Journal: End of Filming

These 2 days (Monday 22nd and Tuesday 23rd of August) have been of intensive filming, rough, first hand editing, and lots of technological managing.

With 3 cameras at our disposal, and a tripod, shots were made, including interviews to subjects, furtherly analized in the "data log," establishing shots spending a great amount of time and memory capacity, and the most simple, but not easy or trivial at all, close-ups of security cameras.

Weather was very helpful (no rain), except for the extreme cold.

Some difficulties were found, especially when encountering frequent low-batteries and needs to quickly recharge. Also, the memory of the cameras in hand did go out in some ocassions, so we had to download our footage several times into the laptop. Our first intentions of recording audio separate from video were unsuccesful, as our equipment wasn't prepared enough. An establishing shot of aproximately 40 minutes long which was prepared to be fast-forwarded, has been probably lost between the first-hand download to the laptop.

But, we were able to film over 10 interviews, over 4 long, establishing shots, several close-ups. Also, we thoroughly researched over which b-roll footage we were going to use and decided a final list of videos. Obviously, the majority of our tries to interview random people were a failure, but several hours of work ended up in us having many of them, and many quotes to choose from.

Some plans had to be changed (for example, due to the discovery of a great establishing view from Ramiro's balcony, we didn't have to travel through the city to capture that specific shot), but we followed more or less our shot list, our location list, and we strictly worked according to our roles. I filmed the shots, being the cameraman, and also prepared them, as the mis-en-scene. Now, I will be the one encharged of transcribing the interviews and deciding on the punch quotes to be used, also creating subtitles and the script.

Production Journal: First Filming Day

Today is our first filming day. At 5 pm the group is going to come together at a designed place, and shooting will start. Further information will be given afterwards, hopefully, we will learn how to achieve better footage tomorrow!

Interview Analysis

After watching footage from Super Size Me (Spurlock, 2004)


1) What techniques are used to introduce the audience to the interview subject(s)?
2) Is it necessary to hear a question being asked before the interviewee's response on film? Why/why not?
3) Shots - what camera positions and angles tend to be used? Why do you think these choices are made?
4) Movement - what do you notice about the movement of camera during interview filming?
5) What can you say about the positioning of the interview subject within the shot (ie. where are they looking and why?)
6) How long are the subjects' responses to questions? How much information/opinion do they give?
7) What research do you think Spurlock did BEFORE interviewing the subjects here? Be as detailed as possible.


1) Voice-over can be used to introduce a new subject, or audio in general. This can be accompanied by visual footage. Thye audio can be edited to fit with the entry of the new subject


2) No, it's not necessary if the question is absolutely implicit or if the subject answers with full syntax. Although sometimes, the question can be shown, in order to convey different effects (e.g.: when he asks the lawyer about his motivation for being in that trial, the Q is used as "agressive")


3) Level-angle shots are used, in order to give a balanced, non-distractive image to the audience


4) There is no movement involved, as the image is intented not to de disruptive for the viewer, for him/her to concentrate on the content of the interview


5) Subject usually focuses his view outside of the framing, as if watching a third, non-shown subject. This gives the audience the feeling of being in an interactive, conversational situation, in where the artificial camera is not acknowledged. 


6) These are short and concise: editing is carefully done to only show the important and relevant content of them


7) A huge amount of research was done, as he investigated on the backgrounds of the subjects, their important data, their past, and all which was concerning each of the interviewees. 

Production Journal

Last week, the shot list was completed in detail, including each type of shot, location, and general idea of transition and storyline in between them.

This was done by me, the cameraman and scriptwriter, who, obviously discussing with my production partners, achieved a final shot list. This was done after deciding which were the best locations, which were not, what types of shots were adecuate, etc.

The difficulties resided in the thinking about the accessibility of the places we were going to visit in the filming days, and the logistics of transport in between. Finally, as set of locations in nearby Capital were decided in order to make an effective use of time during the filming days.

Artistic shots, such as specific footage of a merely cloudy sky, can be filmed anyday when the climate is appropiate, so we will be ready for this. Ramiro will be in hand with the camera.

B-roll footage is going to be selected by Ramiro, the researcher. This is going to include street robbery scenes, and he is going to try and achieve a big lot of footage for Honorio to select more effectively in the final editing. Also, B-roll is going to include a whole set of newspaper articles and titles.

A location list was finished by Honorio and Ramiro while I was encharged of the shot list. This included all the final locations in where filming was going to be done. These two lists can be changed in real time depending on the conditions and circumstances of the day, but the final and definite model for this has been finalized, so our work onwards is going to be much more organized and systematic.

Honorio, due to climate abnormalities, could not meet the cop, who did not get to the place of meeting. However, Honorio is going to contact via-cellphone the one to be interviewed. 



POSITIVE ASPECTS: There were some radical changes in the production outline, as the changing of the opening scene from a tracking shot of fences to a use of impacting B-roll. To these changes, the group has responded effectively and open minded, as we were able to adapt to them quickly

Tarantinoesque Script

TOM: 

So she just gets in the market, totally unkown, and releases her record right? Now, pay attention to this...

PIERCE:

Sorry Tom, not getting it... Why is it so damn hot in here?

TOM: 

Come on..., you must have heard Lady Gaga, it's everywhere nowadays...

PIERCE:

Oh that gaga stuff, I don't quite listen to the radio, you know, jobs like these get you home fagged out...

TOM:

Stop complaining, I didn't even have time to brush my teeth this morning. I tell you, those tunes are awesome, the cadences, the atmospheres created..., it's really not like that modern music, standardized and computer-made, I assure you, this, is real. Why, she did actually study music! Bet you get it know...

PIERCE:

Uh? Dunno, surely she must have released a cheap porno, Paris Hilton like, something... merely accidental. That's the way chicks get nown today.

TOM: 

Pretty sure she hasn't made any, believe me it would be well-known. 

A subway starts arriving the station. Camera fixed in a mid-long shot of both characters sitting down. The noise covers their dialogue, which is indistinct. Subway leaves. 

PIERCE:

Just hand on to this damn briefcase a sec, I'll take something off before I melt

TOM:

You always trying to make theatrical moments about everything, just try not to exxagerate it that much right? Sit down come on...

PIERCE: 

I know you like it when I dramatize. And you're taking this too freely, you know we can't loose that...

TOM: 

Uh, right... Here it comes, shut up and jump in

Subway arrives, they get in. Camera fixed on the empty bench now.

Production Journal

Confronting an inconvenience: Ramiro's cop's possible dissappearance.
        Further solutions: -Honorio's cop?
                                   -Immediate tries to contact the former cop

Furher Points to Cover: -More thorough research (still shots, newspaper articles, statistics, etc)
                                     -Decision (final one/s) over the locations of shooting
                                   

NARRATOR= (should there be a voice-over or talent pushing the documentary forwards? Or just visual artifacts?)
           Final Decision= At least a voice over, to give a more dynamic and interactive documentary flow.

Other Objective: START OF SHOOTING (During weekend or day of the week)  - Specially artistic scenes. 

Quentin Tarantino

1) Clever, humorous, quick dialogue / Sudden scenes with high levels of violence

2) He was a film clerk, so he acquired his film knowledge by this, not by a conventional high-school method.

3) It was critizised for having excessive violence levels which were considered unnesessary (e.g.: the ear cutting scene...?). Also, they claimed he had plagiarized from the movie City on Fire.

4) Crime and Gangster Films

5)

"God's Eye POV"  

This extreme high-angle shot from Kill Bill Vol. 1 shows Uma Thurman entering an unknown space in where she will get into a battle. The shot reflects, by this angle, her inferiority in the situation, as she is vulnerable in this space.

"The Corpse POV"

This low-angle shot is from the POV of the "dead" Bride looking at her murderers. This conveys her extreme inferiority as her life is in total control of them.

"The Trunk POV"

This is a low-angle shot showing Vincent and Jules opening the trunk of the car to fetch weapons. This could be used to create tension in the sense that the viewer wonders about what is it that's inside the trunk.

6)

The "Mirror Shot" is a specific shot used by Tarantino sometimes in where a character looks at himself in the mirror, and maybe talks to himself. The shot reflects intimacy and self-reflection, conveying the privacy of the moment in where the character looks, literally and symbolically, to himself.

 In this shot, Vincent (Pulp Fiction) is having an intimate moment trying to control himself and detaching his mind from his feelings, as he has to spend the night with his boss' wife (obviously he's trying to control himself).

7)

a) Mexican Stand-Off is the name given to a shot showing more than two individuals aiming at each other with guns.
 
b)The term comes from Sergio Leone's movie "The Good, the Bad and the Ugly," a classic from 1966 and one of Quentin's favourites.
 
c) Pulp Fiction

     Reservoir Dogs

8)

a) A MacGuffin is an element which drives the movie's plot forward without having a specific relevance on its own (it may never be revealed or shown). This motivating element pushes the narrative forward and usually doesn't have any other purpose in the film.

b) In Pulp Fiction, the MacGuffin is the briefcase which Jules and Vincent have to return to Marsellus: the briefcase is the one which activates the action in the movie, but hasn't got any further purpose.

c) Rocknrolla: the painting is the MacGuffin used which develops the plot (no screenshots, as it not shown in the whole movie, obviously...)
    Mission: Impossible III. The action in the movie is triggered by the search of the Rabbit's Leg, although this is never found...

Production Journal

The handing in of the storyboards, basic research (and what to do with it) and the hundred-word outilne of the documentary been met on the deadline in an effective way. As a researcher, I have acomplished meeting the deadlines and objectives we had set, searching for statistics, and information of contacts as the pinning-down of the data about a cop whom Ramiro (talent) is going to interview. Being the cameraman, I haven't had, obviously, no chance to film any footage at this early stage. My role as a researcher has been assigned because as a group we felt that I was an organized and working person, effective on handling information and applying it. As a cameraman, I was assigned to the role for the assumption that I could have greater potential in the selection of diverse types of shots.

As a group, we are on the stage of research, planning, and initial action, here are some goals we hace achieved:

• Research about the topic. Finding of statistics and raw data
• Selection of some basic shots and ideas for them. (Could we maybe include some artistic ambience to our documentary...?)
• Finding of a contact to have interviewed, and decisions to have at least 2 days for free-interviewing at the streets

Here are some goals we are taking in count for the next stage:

• Organizing of the data in a systematic way
• Definate arranging of interview with the cop
• Preparing of free-interviews
• Deciding on further ideas
• Recount on the equipment we have available

Production Journal: NEW / FINAL PITCH

Honorio Oleksuk, Santos Espina, Ramiro Villegas

What are we doing?

Our documentary is going to be about the middle class paranoia which has been created due to the crime in the streets of Capital/Quimes (to de decided upon further discussion): is it a real fear? Is it mere fiction? We are going to explore the concerns of the public involved in this situation and try to expose what this dilemma is about for real.

Why are we doing it?

We strongly feel this problematic situation is one which is talked about thoroughly, but from which no one knows much. Also, we think that it is a good idea to inform a wider public about the present situation of insecurity and the panic it creates, although this remains in the silence or in inconclusive claims.    

How are we going to do it?

We are going to transmit the atmosphere of fear which is present in this section of society nowadays, in the most realistic-crude way as possible, gathering accessible evidence and concise facts to support our ideas and showing by filming techniques the actual situation we are trying to express. 

Production Journal

Ramiro talked to a local cop, he agreed to be interviewed.
There was an advance on the discussion of shots. Probable shooting of people in the street, asking if they feel insecure, and other possible inquieries.

Possible Opening shot: Fade in of a long tracking shot of the fences, shot from a moving car. Momentary superimpositions of still shots of security cameras.

Capturing the Friedmans: How was it made?

PRE-PRODUCTION:

• Thorough research on the specific topic (the Friedman family) was made before anything else: the court records, the public history, the statistics and records of the news, receipts (as the one which Arnold received from buying child pornography), and any written material like the mails sent by Arnold
• Large amounts of material were gathered, especially real footage from the past, as the one filmed by the Friedmans, the real time footage at the trial, etc. Also, pictures from the local newspapers of the time, pictures of the family, footage from the media, and all the material as possible, was collected
• Arrangements with the people who are to be interviewed: the Friedmans interviewed (Elaine, David, Jesse, Arnold`s brother), the psychologist, Jesse`s lawyer, the supposed abuse victims and the parents of these

 FILM FOOTAGE

• Live shooting is made to the interviewed subjects, in specific settings for each one: Elaine in what is presumably her home, for example. 
• The general setting/place of "action" was shot. Establishing shots when the setting changes, as when Jesse`s lawyer is about to be filmed, an establishing of his office in a small town appears. The town in which the conflict is set is filmed at different times of the day
• The courtrooms are filmed empty, and the offices in where presumably or maybe interviews with lawyers and judges took place
• Shootings and scans of newspapers and written files are made
• Real footage was obtained (from the Friedmans surely?), which was extensely used throughout the film: the shootings of the family's argues and dialogues, different moments of their history (as footage from when the sons were just kids), and even more intimate footage (as David's monologue with the camera, or the fight which almost happens when Jesse arrives at the court)

POST-PRODUCTION

• Editing is done in such a way so as to show only part of the truth which is gradually being accesses to by the audience. For example, when several interviews are shown in a sequence, they deal with the same topic, showing selected parts of each interview relevant to the specific theme in discussion (for example, selected pieces from interviews to the psycologist, Arnold's brother, and Jesse are shown when the topic of Arnold's troubled past is presented)
• Overlaps of visual shots and voice-over, which is then acknowledged (in the transition from, for example, a tracking shot of the city to an interview to Jesse, what the later is saying is overlaped with the former shot). This adds dynamism and a more fluent sequence of events
• The questions which the interviewed people are asked are deleted from the final shots, adding credibility and spontaneity to the footage, and therefore, reality. 
• In practical means, footage which couldn't be used or found is replaced by other techniques, as the shooting of the empty courtrooms with the recorded audio played on top with the discussions with lawyers
• Moments of distension are created to aleviate the flow of information sent to the audience, as establishing shots of setting changes (e.g.: the countryside when Jesse's lawyer goes to visit Arnold to jail)
• Authority and authenticity are created by showing photos of real newspapers debating on the mater, and actual footage from the media recording the incidents (as Arnold's imprisonment)
• The extense amount of footage and material available to edit results in a rich visual experience to the audience and rises the authoritative level of the documentary

PORTRAYAL OF THE FAMILY

• Chaos is illustrated throughout the whole film in the family, by the showing of the progressive disintegration between its members (in the household fights, the depression of Arnold, the suffering of Elaine, portrayed not only in the past, but in the present). 
• Wider themes as the power of rumours and public opinion (are the Friedmans just victims of mass hysteria, declared guilty because people are just fakely convinced about it because of the general opinion and fear?), and the rol of appereances in society (such an apparently normal family, with a father with good reputation as Arnold, is just an external appareance of the monstruosity which reincides inside the family?)
• From beggining to end, a veil of strangeness is portrayed over the family by the director, as if it were (indeed) a different tipe of conventional family. The fact that the family films during their daily life conveys this uncomfortable ambience; the fact that although for example Jesse is about to receive a year-lasting sentence in jail, he is playing around with his brothers, being on camera, also creates this effect. This movie is about truth, abouth what truth means, and how can we know the truth. Throughout the film, absolutely every person interviewed has a different side opinion of the story. The movie shows how the truth is handled, not only by the media and the masses, but inside this family, in where, who knows? Arnold Friedman was the only one to know the truth about the story, or maybe there are so many things which the family has hid from us. 

Saw new movie the other day, not impressive, no new plot nor... deep movie. But, it was very good paced, with a couple of impressive shots: the filming and editing was accurately done, they got to keep a steady, fast-paced climax throughout the movie. Adding to this, soundtrack was very well done: by the Chemical Brothers.

MOONLIGHT PRODUCTIONS LOGO

Production Journal: Old Pitch (discarded one)

MOONLIGHT PRODUCTIONS

Villegas: Talent, Researcher.
Espina: Writer, Cameraman.
Oleksuk: Editor.

Quilmes: alcohol, tobacco, drugs, teenagers…

What’s the story?

Through the streets of Quilmes, more and more teenagers of less age are abusing of illegal substances, illegal for their age, and illegal in a worldwide way.

Why we are doing it?

We chose this subject because we feel a part of it, and we experience or have contact with similar situations in a regular way. This concerns us, so we thought it would be a good idea to communicate the reality of what is actually happening, to inform a public about it. Also, we have accessibility to the subject, contacts we can talk to, interview, etc . Also, we have accesibility to reliable sources related to the theme.

How we’ll do it:

We’ll do this by trying to involve reality in our production to the greater extent as possible, to transmit a real and actual situation in a crude way, which impacts a public and transmits an effective idea emotionally.

JUMP CUTS

In A Bout de Souffle (Godard, 1960), jump cuts are used when a flowing conversation shot is suddenly, by a change of shot, felt unsynchronized because of the deleting of what should be in between a shot and the other. This is a temporal jump cut, as the space itself doesn't change (no angle or camera position change) but the continuous normal movement is broken suddenly and unexpectedly by a shot change showing a different motion taking place (e.g.: from this movie, when the girl is talking in the car, suddenly changing to her looking herself at her hand mirror).

In Eden Lake's beggining, jump cuts are used during the couple's journey in the highway. The long forward moving tracking shots showing the car from behind are suddenly cut and lead to another shot in a slightly different angle, showing a different situation. This sudden, unsynchornized change and modification in the flowing sequence conveys the passage of time, as the audience fills the imaginary gap between each simultaneous shot which time. It also generates disorientation and amplifies the magnitude of this trip as a more symbolic journey, from their conformist life style to a more harsh and real environment. 

SCREAM

(a screenplay by Santos Espina)

FADE IN:

1. Black screen. SUPERIMPOSE:

SCREAM      

(title morphs in coloring and shape till fade out)

As title appears, a shot, a telephone line, a woman screaming and a metallic axe-like sound appear.

DISSOLVE TO:

2. INT. –NIGHT- Woman’s house.

The camera shows a small table with a telephone ringing (close up). Woman’s hand appears and grabs the phone. CAMERA MOVES UP to show her face holding the phone. She’s a young pretty blonde woman.

WOMAN

Hello?

PHONE VOICE (voice-over)

Hello

WOMAN

Yes?

PHONE VOICE (V.O.)

Who is this?

WOMAN

Uh, who are you trying to reach?

PHONE VOICE (V.O.)

What number is this?

WOMAN

What number are you trying to reach?

            Girl GIGGLES, seems sympathetic with situation.

PHONE VOICE (V.O.)

I don’t know…

WOMAN

Well I think you have the wrong number…

PHONE VOICE (V.O.)

Do I…?

WOMAN

It happens, take it easy.

            She hangs down the phone as the CAMERA FOLLOWS HER FACE (tilts downwards and then upwards). She turns round and starts walking away. PHONE RINGS AGAIN. She turns round and camera ZOOMS IN slowly. Girl walks to telephone.

3. Same setting as before. Camera fixed in a CLOSE UP on the telephone, which still RINGS. Girl grabs it and the CAMERA FOLLOWS THE TELEPHONE to her face, tilting upwards.

WOMAN

Hello...?

PHONE VOICE (V.O.)

Sorry, I guess I dialed the wrong number…

WOMAN

Uh, so what did you dial it again?

PHONE VOICE (V.O.)

To apologize…

WOMAN

You’re forgiven, bye now…

CAMERA ROTATES smoothly around the girl, she walks so as to hang up the phone.

PHONE VOICE (V.O.)

Wait, wait! Don’t hang up…

WOMAN

What?

PHONE VOICE (V.O.)

I want to talk to you for a second…

WOMAN

They have nine hundred numbers to do that. See you…

CAMERA STAYS FIXED POSITION as the inclines to hang up the phone. Her face appears again and she walks outside camera focus, sighing. CAMERA STAYS STILL for some seconds showing the window.

4. EXT. EST SHOT garden outside the house. LOW-ANGLE SHOT for above trees, then moves downward to focus house. Cricket noises, and a rumbling sound of movement.

5. INT. CLOSE UP on the stove which turns on. Girl’s hand appears placing a popcorn pan.

6. INT. MID SHOT zooming out on girl who prepares popcorn, then PHONE RINGS, she sighs, and picks it up, as the CAMERA FOLLOWS HER moving swiftly through the kitchen.

WOMAN

Hello…???

PHONE VOICE (V.O.)

Why don’t you want to talk to me?

WOMAN

Who is this?

PHONE VOICE (V.O.)

Tell me your name I’ll tell you mine…

WOMAN

I don’t think so…

She shakes the popcorn pan.

PHONE VOICE (V.O.)

What is that noise?

WOMAN

Popcorn!

PHONE VOICE (V.O.)

You’re making popcorn?

WOMAN

Uh-huh…

SHUTTER ISLAND

Saw it on weekend, structure was correctly paced and created, and there is a good conveyance of surreal scenes evoking dreams. Non-diagetic sounds were used at dramatic scenes, orchestra specially.

CINEMA IN THE '60s

Some Context on the times:

-First TV broadcasts in color

-President John F. Kennedy's assassination and Martin Luther King’s

-Miniskirt made first appearance

-Race riots, anti-war protests, women and gay marches

-Martin Luther King, Woodstock Musical Festival in upper-state New York

-Arpanet (first Internet) invented

-First Man on the Moon with Apollo 11 space flight

-Questioning of authority, more freedom and rights demanded for women and minorities (e.g.: homosexual marches)

-Sexual Revolution

-Socially accepted drug use (LDS, marijuana) psychedelic music.

-Breaking up of conventions and imposed morality

  

-Young people begin to revolt against the conservative norms of the time, creating a “counterculture” in USA, against the social conformity trend in the 50s (as excessive materialism) and the extensive govt. intervention in Vietnam (Hippie movement created)

Effect on Cinema

 The counterculture movement had a significant effect on cinema:

 -Movies begin to break social taboos such as sex and violence, causing both controversy and fascination. 

-They turn increasingly dramatic, unbalanced, and hectic as the cultural revolution was starting. 

  

-The 1960s were also about experimentation. With the inclusion of light-weight and affordable cameras, the underground (outside the scope of mainstream media and popular culture) vanguard film movement progressed.

Technical Innovations

-The invention of the Nagra 1/4", sync-sound, portable open-reel tape deck. 

-Move to all-color production in Hollywood films.

-Expo 67 where new film formats like IMAX were invented and new ways of displaying film were tested (motion picture film format, greater size and resolution than conventional film systems)

-Flat-bed film editing tables appear, like the Steenbeck. Better editing, less risk of damaging film. 

Events in Film Industry

-Removal of the Motion Picture Association of America's Production Code in 1967. Voluntary MPAA film rating system.

 -The Studio System has much less control over filmmaking in general. Take-overs by multinationals (Paramount case forbid vertical integration before) 

-The rise of 'art house' films and theaters (not mainstream cinema aimed at mass) 

-Fall in sales, worst economical years for the studio system.

-The rise of independent producers that worked outside of the Studio System. 

-The French New Wave and New Hollywood (End of Classical Hollywood)

-Direct Cinema and Cinéma vérité documentaries (capture of reality/truth)

NEW HOLLYWOOD

-Because of decaying Studio System, new approach to filmmaking: intention of being innovative

-Technicolor became used far more frequently, and widescreen processes and technical improvements, such stereo sound and 3-D, invented in order to retain audience and compete with the advance of television, generally not succeeding in the aim

-New audience generation: counter-culture bred, tendency to like art films, nude scenes, violent movies

-Musicals and historical epics not calling attention as before

-Less control of the Studio System on hired individual filmmakers to make market flexible against this changed context

-In movies, new levels of violence, sex, society-defying scenes and passion for artistic value itself (Controversial themes)

-Technically, the greatest change the New Hollywood filmmakers brought to the art form was an emphasis on realism, contrasted with “Old Hollywood’s artificiality,” as in musicals

-More introspective movies (e.g.: from real demons to inside psyche ones, as in Hitchcock’s Psycho, character with multiple personality disorders)

Bonnie and Clyde

Video Embedded

Some characters of epoch you might know

•Woody Allen

•George Lucas

•Keith Carradine

•Harrison Ford

•Clint Eastwood

• Brigitte Bardot

The End of New Hollywood

-Blockbuster mentality / high concept projects (e.g.: star wars)

Soundtracks and Sequels

FRENCH NEW WAVE

-Group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Some were writers of Cahiers du cinéma.

-New Wave filmmakers linked by their rejection of conventional cinematic form and their ideals of iconoclasm. 

-New filming techniques:

Innovative shots (see video)

Rapid scene changes

Improvised dialogue

Stylistic aggressive approach to defy mainstream conventions (eg.: characters directing themselves towards audience)

Themes, as accepting the absurdity of human existence, and the use of broke-up narrative structure.

-Radical experiments with editing, visual style and narrative, part of a general break-up with the conservative style. 

-Half necessity and half vision, artistic themes represented on tight budgets. Limited crew and cast. Forced improvisation with equipment.

Jean-Luc Godard

•One of the most extreme/radical New Wave filmmakers.

•Broke with conventional filmmaking, audiences sometimes concluded he felt contempt of them for making such aggressive changes in movie structures, or radical shots

• Existentialism, politics and Marxism common themes.

Weekend shot

Videos For CINEMA IN THE 60's

Closed Framing basics

Closed framing is a type of shot which conveys an artificial environment, in where the characters are in a way controlled or imprisoned by an external force which they can't perceive. This evokes this "made" setting in which characters are not in control, as if outside forces where dominant over their fate, movements, etc., creating a clautrophobic effect. Visual and sonic elements are usually overloaded in order to convey this artificial tone, as the frame captures the characters. An example of closed frame is the shooting in Elephant, in where the camera follows the characters of behind, as if showing they are not in control of their environment.  

Mise-en-scene school's essence

The concept which we tried to capture was the standardisation to which the students are subject to: the uniformity in which everyone is turned (tried to turn) into certain model student (through imposal of uniform, haircut, behaviour, etc.). This school conformity is the essence we tried to evoke in this shot, by aligning the characters in two symmetrical rows and dressing everybody equally (also the equal poses), conveying a sense of discipline and order. Being a fairly long-shot with straight angle, there was space for the spacial depth to be noticed and the sun to hit in only one of the sides of the character's faces, in order to enforce/maximise this equality, this constant conformist view of creating repeated stereotypes.

Mise-en-scene of Rear Window's (Alfred Hitchcock) opening scene

a) An urban ambience is conveyed, creating this sense of close together/packed up society, as we can see the several tall buildings and the cars, evoking a busy situation, a contunuity of a routine, creating a stereotypical, NORMAL, situation. Also, a nearly claustrophobic feeling is created by this enclosed environment. The light-rythm and stable cadences of the music also help convey this "normal" situation, an everyday routine. The stillness of the shot helps the audience perceive the movements inside it: the blinds going down showing more detail each time, the cars passing by, people moving. 

b) The camera suddenly zooms in the set from inside the place in where it was, so it creates the effect of being a point of view, of being the eye of the character the audience will soon see. This represents the character as being a watcher, a spy of this environment. It foreshadows the role of the character, who, from the space in where the camera in placed, looks all around him all day long (this is then conveyed as the camera starts showing the whole set, rotating and "looking" at it).

Mise-en-scene of the Last Emperor

In this particular shot from the Last Emperor, a sense of power and royalty is evoked, contrasted with the conveying of a "finale"/doom ambience: the end of this exotic culture. In order to convey this effect, the shot has been set up in such a way to create different sensations on the spectator. It is a long-shot, which gives a broad image of the whole set: a temple which inspires power by its magnitude and exotic style, perfectly aligned rows of followers, a central passage through which the Emperor's caravan is being transported, and a part of landscape (sky) behind the temple. The long distance of the shot gives characteristic power to the set, as the spectator can view (shot is slightly high-angled for it to have a wider approach to every single object in the scene-specially characters, as the contrasting colours tell the audience about this culture: a different, exotic one) the hugeness of the space in where the characters (spacially small in contrast with the vast set, also conveying this powerful sense of magnitude, representing therefore the cultural royalty and power, respect) are symmetrically aligned and ordered. This symmetrical display of the whole set (passageway in the middle, aligned follower lines, temple in the center) gives a sense of discipline and respect from behalf of this culture, hinting us about its importance and tradition. The lighting is carefully chosen to convey an atmosphere of doom, as it is dull, and the sky behind the set is grey, using the opaque colour to generate this ending effect: the ending of all this powerful and ancient culture, which is magnificent as ever but at the border of collapse.

Director's Role.

A work done with http://sabricantini.blogspot.com/

Summary:

The director is responsible for the dramatic structure, pace, and directional flow of the sounds and visual images. He/she must maintain viewer interest: must position himself as audience and analyze the movie as a whole, but caring about every minimum detail in able to convey this “whole image”. The director works with the talent and crew, staging and plotting action, refining the master shooting script, supervising setups and rehearsals, as well as giving commands and suggestions throughout the entire recording and editing.

The director decides how the film should look, turning the script into a sequence of shots, therefore adapting it to reality –this gives him the responsibility of knowing how to correctly adapt the script, translating it to real images-. He takes the important decisions during the filming such as: camera angles and distances, lens’ effects, lighting and set design. He is also responsible for the hiring of new crew members (and managing the ones who are already working in the movie).

The director has to advise and order the actors on how to play the different scenes, in order to convey the desired mood/effect. He makes storyboards to illustrate the shot sequences and concepts (how the link with each other, ideas of the shot, etc). The director also has to participate in the general editing of the movie, advising on color grading, different sound mixes (both diagetic and non-diagetic), different shot sequences, etc.

A director has to have a general technical knowledge/understanding of the equipment being used (cameras, lights, etc). He needs to be able to have an outstanding communicative skill to interact with the other crew members efficiently through the filming. He should be extremely committed with the movie and an organized person (able to meet deadlines, work efficiently). A director is required a deep knowledge in visual composition, writing skills, technical applications, different software, and film structure in general (themes, moods, and how to create these!).

            A director must be able to have an accurate location planning, in able to convey scenery adequate for the script and the essence of the movie, shot pacing, acting styles, etc.  

The director has a los of responsibility on him.  He has to take care of all the problems in the film making. For example, if the actor refuses to do a scene, the director is responsible in taking care of this. The director is the one responsible in looking for the settings that sometimes they might not find.

The director must have the ability to see the movie as a whole, a unified and finished piece of work (even before it’s completed), enabling him to take care of the details which create this wider concept (He is the one in charge of putting together all the little pieces which make the movie together). This is because he is the one responsible of portraying/conveying the ESSENCE of the movie he is directing, and for being able to do this, he must pay crucial attention to every single detail which takes part in the movie.

Case Study: Tim Burton

Biography: born in 1958, in the city of Burbank, California, Burton was a very introspective person in his childhood, finding pleasure in drawing, painting, and occasionally filming short movies in his backyard. He graduated at CalArts and called Disney’s attention, in where he had a short work, because of his desire to follow a more solo career.

            His films have as a characteristic the setting of imaginary worlds, fantasy and exaggerated themes and a dark tone to many of his movies (Burton enjoyed reading Edgar Alan Poe in his early days). Between the actors he has worked with, there are some he particularly tends to use; examples being Johnny Depp (e.g.: Edward Scissorhands, Ed Wood, Sweeney Todd) and Helena Bonham Carter (e.g.: Corpse Bride, Big Fish, Alice in Wonderland).