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.
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
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