I have accomplished the completion of the soundtrack, which was a hard task in the sense of creating appropriate textures.
I separated the soundtrack into the following sections:
Independent Study
Question:
In "The Pianist," (Roman Polanski) and "The Downfall," (Oliver Hirschbiegel), how do both movies illustrate a negative optic of WWII?
Rationale:
Analysing a binary cultured set of movies, one from a German perspective, and the other one from a Polish one (co-producted by Poland, France, Germany and the UK), my intention is to conform a study of the kind of optic placed on war and propaganda. My goal is to prove how both sides of the conflict, more than half a century after the conflict, portray a negative impression of war and its experiences. To to this, I'm going to focus on the dramatic impact of these movies, ranging from character presentation, narrative, and filmic approaches (lighting, sound, shot types).
In "The Pianist," (Roman Polanski) and "The Downfall," (Oliver Hirschbiegel), how do both movies illustrate a negative optic of WWII?
Rationale:
Analysing a binary cultured set of movies, one from a German perspective, and the other one from a Polish one (co-producted by Poland, France, Germany and the UK), my intention is to conform a study of the kind of optic placed on war and propaganda. My goal is to prove how both sides of the conflict, more than half a century after the conflict, portray a negative impression of war and its experiences. To to this, I'm going to focus on the dramatic impact of these movies, ranging from character presentation, narrative, and filmic approaches (lighting, sound, shot types).
Production Journal
Location Scouting:
Locations are firmly decided:
First part is filmed at Abril CC, second will be at Ortiz de Ocampo and Libertador, a friend's house, in a party mood, to convey a diametrically opposite setting.
Filming: shooting began its process, as we could film the pool scene, in which our actor, Tomas, threw himself into the water. We shot three takes, from different angles and using two cameras (GoPro and Sony HD), trying to keep setting conditions equal.
A complication was the extreme cold conditions in which we did the shooting (it was a tough time). I personally had to remain inside te pool to fill with the GoPro from underwater.
I think it was an effective start. Although the amount of rough footage we achieved was not too long, it was from a crucial scene which was set from the start.
For that first section of the film, shooting will be ended this weekend.
STRUCTURE:
We decided the film should be divided into at least two sections, which would be separed by character and setting differentiation. This relates directly to the theme. Two parallel stories are portrayed, and linked by several fimic and conceptual elements.
(An inclusion of a third, short section is still optional)
Locations are firmly decided:
First part is filmed at Abril CC, second will be at Ortiz de Ocampo and Libertador, a friend's house, in a party mood, to convey a diametrically opposite setting.
Filming: shooting began its process, as we could film the pool scene, in which our actor, Tomas, threw himself into the water. We shot three takes, from different angles and using two cameras (GoPro and Sony HD), trying to keep setting conditions equal.
A complication was the extreme cold conditions in which we did the shooting (it was a tough time). I personally had to remain inside te pool to fill with the GoPro from underwater.
I think it was an effective start. Although the amount of rough footage we achieved was not too long, it was from a crucial scene which was set from the start.
For that first section of the film, shooting will be ended this weekend.
STRUCTURE:
We decided the film should be divided into at least two sections, which would be separed by character and setting differentiation. This relates directly to the theme. Two parallel stories are portrayed, and linked by several fimic and conceptual elements.
(An inclusion of a third, short section is still optional)
Hollywood Golden Age
Hollywood Golden Age
The Golden Age was represented by the classical style, which is characterized by the principal use of continuity editing (meaning the continuity of shots is intended to feel natural and smooth), also called invisible style. Contrary to modernist or insurgent film currents, the camera in Classical Cinema, together with the sound, should never call the attention for themselves.
Between the general genres which predominated the era were included: Western, slapstick comedy, musical, animated cartoon, biopic (biographical picture). Also, the rising power of the cinematographic studios made a sectioning in the market: most of the films made were produced by it, and also genres were usually divided by studios.
Production Journal.
Absolutely no Diagetic Sound, put in Off.
Everything Non-diagetic.
At party, Distant echoing music. Someone talks to him: annoying high pitched sound, or mouths moving slowly without articulating sounds
Everything Non-diagetic.
At party, Distant echoing music. Someone talks to him: annoying high pitched sound, or mouths moving slowly without articulating sounds
Scouting Locations 1
Abril CC.
Capital Federal, Libertador.
Pilar.
Variety of landscapes, city, lakes, biological spectrum. Nice, clear areas.
Entre Rios. River beach, nostalgic place.
Capital Federal, Libertador.
Pilar.
Variety of landscapes, city, lakes, biological spectrum. Nice, clear areas.
Entre Rios. River beach, nostalgic place.
Production Journal: Plan Changes
Part 1
Guy, daily routine, seems stressed out, tired. Use of vague, sombre chromatics. Jump cuts (uncomfortable step in sidewalk and routine at house). Music in reverse, sinister feel.
Part 2
When he goes to sleep, slow motion. Eye shots. Change into sunny setting, bright saturated colouring. ‘Dreamed’ action. Surreal ambience, unconnected shots. Clear music. He throws himself in the pool (slow motion, uncanny shots), Still, peaceful moment. Eye transition again, ‘waking up.’
Part 3
Same shadowy frames as before, but more melancholic music (strings, slow minor chords). Wakes up, looks himself in the mirror, static feel. Contrast to fast-forwarded shots.
Special, weird shots in mind:
Transition sleep-awakening:
When throwing himself to the pool, extremely slow motion, detailed fall.
Superimposition of opening extreme close-up eyes, backtracking of the fall.
Showing of:
Reverse water drops on a wall, ice malting and forming back again.
Destruction shots:
Slow mo cristals to floor, dark background. Falling from above (Quincho Otto) and then reforming again. Drop of water? (If definition and editing program make it possible).
Black Light shots:
Highlighter ink into water. Paper, glass falling from roof. Tonic Water?
Transition of clorophyll green-red?
Other:
Knife. Fast forwarded city (contrast to stillness). Fast forwarded sky clouds. Fast forward trees shaking in wind. Continuous change from speed.
One - sheet Draft 1
Mood: Surrealistic, bizarre shots.
Storyline - Plot : A man in suit escaping. From what/whom? Unknown.
"What are you running from?"
Fist shots: entrance of guy, slow motion sequence.
Washes his face, interrumpted by surreal flashes.
Opens his eyes (pupil shot), sees the mirror (inverted colours). Shocking noise, scream
Start of race.
Parallel. Girl story
Meet at tree.
Storyline - Plot : A man in suit escaping. From what/whom? Unknown.
"What are you running from?"
Fist shots: entrance of guy, slow motion sequence.
Washes his face, interrumpted by surreal flashes.
Opens his eyes (pupil shot), sees the mirror (inverted colours). Shocking noise, scream
Start of race.
Parallel. Girl story
Meet at tree.
Production Journal
Psychadelic Ambience = Vivid Colours, Unusual Shot Compositions/Angles
Slow Motion / Fast Forward Shots
Carlos Juni - Santos Espina - Tomás Wetzel
Blemd of shots
Lighting effects
Distortion of modern society
Slow Motion / Fast Forward Shots
Carlos Juni - Santos Espina - Tomás Wetzel
Blemd of shots
Lighting effects
Distortion of modern society
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..."
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
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
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.
-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"
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.
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.
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!
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