Thursday, 24 April 2014

reflective analysis

Reflective Analysis
Pre-production
Production


Research for the film consisted looking at existing action short films and looking at the way they are composed, this meant looking at narratives and camera work. The usual narrative of an action film was set out in the Todorov structure which sets out an equilibrium then a disruption usually an antagonist who is trying to get something in the protagonists possession, this usually ends in an attempt to repair the equilibrium and then a new equilibrium is established. In our short film we decided to follow this narrative structure, which meant having the protagonist captured and interrogated by the antagonists. Having the protagonist kill the antagonist and escaping and getting to the briefcase creating a new equilibrium. The structure was set out a little different because we had the protagonist in a disruption then solved the disruption with a new equilibrium.


In my film I was working with Liam Potter, I worked on Editing, Screenplay and writing the scripting for the short film. Liam was working on filming and location hunting as well as producing the storyboard. I also produced the animatic for the final planning stages of preproduction. When working on the screenplay it was difficult to create because Liam who was supposed to work on the storyboard did not do it correctly and so this impacted on my creation of the screenplay. This did not impact too greatly on the final film however it did greatly impact on the preproduction stages of the film. The final film was also impacted because Liam did not manage to get the flashback scene filmed and so I could not edit the film properly and so this made a huge impact because I had to change parts of the film to keep the intended meaning of the final film.
The camera angles were chosen to have the audience reflect on what the characters were feeling. The camera angles were made to show the audience restricted views of the characters to show the audience only certain parts of the action occurring. Action in particular the punch scene is zoomed in upon with the camera and remains a central part of the video. When filming the final scene it was important to look at what impact the audience was expecting to get and then play with this emotion, the extreme long shots contrasted against what was happening in the previous tight and claustrophobic scenes. The scenes have a manipulative feeling because the audience never get to find out what is inside of the case and the manipulative camera angles reflect this as they never show what is inside of the case.
The editing was one of the most important parts of the film sequence, I edited the entire short film, this included changing the actual way the film panned out whilst still including the main narrative structure of the film. When editing I had to change the way that the film was composed completely, the film was missing the main flashback sequence because Liam who was supposed to film the sequence did not get the sequence filmed within dates close enough to the deadline to allow me to edit any footage, no footage existed of the flashback sequence so it had to be completely removed from the sequence without destroying the sequence or the narrative structure already laid out. The edited sequence changed the way the audience viewed the film. This included the speed in which shots were shown increasing the intensity of the film and changing the audiences understanding of what was occurring.
Sound was crucial in creating audience understanding for what sequence what was occurring, the soundtrack featured at the end of the sequence was found from YouTube sound base. The soundtrack reflected the more relaxed feeling of the final part of the sequence. The sound occurring in earlier scenes was also important because it showed the emotions impacting the characters and helped to reflect this on the audience.  The sound was paramount in adding action to scenes requiring it. The sound also filled in for when the audience could not be shown what was happening such as when the protagonist was choking on blood although blood is shown falling onto the floor it is never shown leaving the protagonists mouth this is instead left to the imagination of the audience, allowing the audience to create something that would have been difficult to show.
The audience feedback was largely positive facing the film, this included audiences understanding what the film was about. Audiences got the overall narrative of the story, however because a key scene was missing and the film restructured in editing, it was difficult for some audiences to understand the actions of the protagonist, some audience members also had problems seeing the motives of the antagonists and overall what their aim was, it was later however resolved when watching the sequence a second time allowing them to pick up on dialogue explaining the antagonists motives. Overall however audiences liked the sequence and enjoyed the action portrayed to them in the sequence, this included the punching scenes as well as the ride on the motorcycle at the end of the film. Audiences understood what genre the film was through props and costume as well as fast paced editing usual of the genre.

Overall the films production ran into problems when filming however through editing I was able to restructure the film whist allowing it to still make sense. The films production did take longer than expected because I was relying on Liam to film which wasn’t always easy organising the cast to all be available on the same day to shoot this delayed editing times and the overall production however time was quickly made back with multiple editing sessions changing the film until the final edit was achieved.

Thursday, 27 March 2014

Updated Location List



Settings
written by Thomas Powers

 

 

 Original Intentions Warehouse- primary setting

This will be the main setting for the short story. The majority of the narrative will appear hear.

The Warehouse will be of unknown location to add to the mystery and suspense of the narrative. the Warehouse will be empty apart from a chair sitting in the middle, a small table next to it and the characters.

 










 The warehouse being of unknown location or direction will assist in aligning the audience with the protagonist who will be disorientated. The audience will not know where the warehouse is and the establishing shot will occur inside the building covering a small area of the warehouse.

 

UPDATE

Because it was unsafe for us to enter into the abandoned warehouse that I had originally intended to use Liam managed to secure a garage, this garage gives the impression that it has been broken into and so it still applies to the feel of the film. The garage was left still set up as a garage and so because of this it has a typical Mise-en-scene of a garage, this includes making sure it looks like it is in working condition having everyday household items in the back of the Mise-en-scene.

Updated Genre Development


Written by Liam Potter

And Thomas Powers

 


The genre selected is Action. This means that we still need to decide on a sub-genre.
Typical action sub genres include;

  • Action Spy
  • Action Adventure
  • Action Horror
  • Action Disaster
  • Action Sci-Fi
  • Action Comedy

Because of numerous subgenres, action can easily be incorporated into a short film and can be adapted to fit into a film.

 

An action spy film can be seen in James Bond. Because the action spy genre can be easily adapted, action spy films can have many different forms and interpretations. for example Robert Rodriguez’s Spy Kids.

 

 

Action Horror is another easily adaptable genre because it can be interpreted in different ways. This means it's great for doing a short film because it is such a flexible sub-genre. Examples of this include Resident Evil (2002 Paul W. S. Anderson).

We decided to film an action Thriller; this means we have to follow the standard conventions of an action Thriller. In terms of editing this means fast paced editing featuring many consecutive cuts in rapid succession, the editing can at times change the mood of the settings by jumping rapidly through scenes.  The editing is one of the key areas because it can rapidly change the feeling of the overall film.

The cinematography featured is usually a mixture of close-ups with a rapid changes to mid shots, this means that the audience feel trapped or compressed, it also gives a tighter feeling to the overall footage, this tighter feeling adds to the emotional intensity of the scene and can make an audiences emotional reaction stronger.

The Mise-en-scene is usually very dark with little to no colour featured, this draws attention away from backgrounds and draws the attention towards the audience, this means that when colour is present it draws the audience’s attention to the object within the frame. The Lighting in a thriller can either be dark and dingy with either a small artificial light or natural lighting, or it can be bright and harsh and contrast the actions within the scene. We will be using this to make sure that we can have a stark contrast from the dark action occurring to the bright sunshine pouring in through the windows.

The sound is always quite blunt and sharp, the sound has a lasting effect on a scene, depending on what type of soundtrack is used the overall feel of the scene can dramatically change from dark and mysterious to bright and happy, however the sound can sometimes mis-match the action occurring to create a larger contrast and darken the scene further. A good example of this would be Reservoir Dogs (Quentin Tarantino, 1992) in which a character is being tortured to the extremes of having his ear removed, this in stark contrast to the music playing which is Stuck In The Middle With you.    

Updated Character Development



Liam Potter and Thomas Powers
Written By Thomas Powers
character development





Main Character
-
name - John Candor
costume- trousers, Jacket
John has a history of violence, he is known to be uncooperative at times and always gets his own way. John has an ability to slip away from situations when he feels under threat. This means that he can break out of handcuffs. John has a criminal record from his history travelling with his brother. He has a close relationship with his brother George. George and John want to start a new life but the only way they can do that is by stealing, this idea of stealing to move on from crime doesn't at first seem like a great idea to john but he changes his mind from persuasion from his brother and realising there is no other way.

Torturer Number one- Name- unknown dies

Costume- shirt and tie wearing formal clothing style aside from rubber gloves
props associated with character- mobile phone

This Torturer has a dark image about him, he seems to enjoy torturing John not because his job relies on it, but because he enjoys it personally. He is a relentless character who doesn't stop until he believes he knows everything there is to know, he is murdered by John Candor when he decides to push John too far. This death to the spectator can be seen as self defence against the Torturer and it can be seen as revenge for the pain the torturer inflicted on John both physically and emotionally by murdering John's Brother George.



Man 2- Name-unknown, does not die
Costume- full suit, doesn't do any torturing he leaves to talk to boss.
This character shows remorse towards John so much so that he does not engage in torturing John. He has a mystery about him because the spectator doesn't know a lot bout him it is difficult to decide what his motives are. It can however poop be seen to the spectator that this man is only in the room to make sure everything stays how it should, he is more in his job because he has to be rather than the torturer who enjoys his work.

 





Supporting character (3)- Name-George Candor appears in flashback and shown on mobile phone as being tortured and killed. He has an eccentric personality and he is an eager person. he likes to do things quickly and sometimes doesn't take in to consideration consequences for his actions
costume- suit for flashback scene. When in torture chair wearing trousers and jacket. He is the brother of Main character.

 

Edited Screenplay













 
 
 
 
 
 
 
 
 
 
 
 
 
 
New Beginning
By
 
Thomas Powers, Liam Potter
Screenplay Written By Thomas Powers
 
 
 


 

     1. INT. WAREHOUSE MAIN ROOM – DAY

Old warehouse, empty, dark inside, unknown location. John tied to a chair, The Torturer stood in front of him. The Man in the Suit stood slightly more distant. Light illuminating the scene through broken windows.

 

CLOSE UP OF CIGARETTE PACKET

CUT TO

EXTREME CLOSE UP OF FLAME

CUT TO

CLOSE UP OF THE MAN IN THE SUIT BLOWING SMOKE

CUT TO

CLOSE UP OF JOHN BEING PUNCHED

CUT TO

MID-SHOT OVER THE SHOT OF JOHN

CUT TO

LONG SHOT OF ROOM SHOWING ALL CHARACTERS, JOHN SPITS OUT BLOOD, MAN EXHALING SMOKE AT THE SAME TIME

CUT TO

CLOSE UP OF THE MAN IN THE SUIT AS HE EXHALES SMOKE;

(The Torturer)

(Angrily)

‘I will ask you again… where is the case’

CUT TO

TRACKING SHOT GRADUAL MOVEMENT TOWARDS JOHN

FADE TO BLACK

TILTLE APPEARS, TITLE FADES AS BLACK FADES INTO NEXT SHOT

 

 

 

2. INT. CAR – FLASHBACK -DAY

John and George are sitting in a black car; they are discussing the house, which sits to the right of them. John is sat in the driver’s seat on the left; George is sat in the passenger seat.

 

MID-SHOT OF GEORGE FROM OVER SHOULDER SHOT

(George)

‘Let’s go… are we going now… come on lets go’

CUT TO

MID SHOT OF JOHN OVER THE SHOULDER SHOT

(John)

‘Just wait a minute we need to make sure the coast is clear’

CUT TO

MID-SHOT OF GEORGE OVER THE SHOULDER SHOT

(George)

‘We’ve been here over an hour; there’s no car in the driveway. No-ones arrived let’s go come on…’

CUT TO

MID-SHOT OF JOHN OVER THE SHOULDER SHOT

(John)

‘…alright are you ready to go’

CUT TO

 

George quickly gets out of the car and begins to walk swiftly towards the house disregarding John inside the car and running toward unknown dangers.

CLOSE UP OF GEORGES SHOE AS HE STEPS OUT OF THE CAR

CUT TO

CLOSE UP OF JOHN SHUTTING THE DOOR BEHIND HIM

CUT TO

LONG SHOT OF JOHN CATCHING UP TO GEORGE

CUT TO

 

      3. INT. WAREHOUSE MAIN ROOM- DAY

The Torturer is stood facing John; he then goes to punch John in the face. The man in suit is stood in the back watching from a safe distance.

 

CUT TO

CLOSE UP OF JOHN BEING PUNCHED BY THE TORTURER

CUT TO

 

MID-SHOT OF SURGICAL TABLE AS THE TORTUER APPROACHES IT

The Torturer picks up the folder to read inside.

CUT TO

OVER THE SHOULDER SHOT OF THE TORTURER READING THE FOLDER

The folder contains information about John and his brother George; the folder is only shown briefly to the camera.

CUT TO

MID-SHOT OF ANOTHER TABLE WITH A BATTERY AND CLAMPS SAT ON TOP OF IT.

CUT TO

A CLOSE-UP OF THE TABLE AS THE TORTURER THROWS THE FILE ONTO THE TABLE.

The words ‘top secret’ are written onto of the folder.

CUT TO

CLOSE UP SHOT OF THE TORTURER PICKING UP PLIERS

CUT TO

CLOSE-UP SHOT OF THE TORTURER PICKING UP PLIERS

CUT TO

CLOSE-UP SHOT OF THE TORTURERS HAND AND PLIERS AS THE TORTURER BEGINS TO APPROACH JOHN’S HAND

CUT TO

CLOSE-UP OF THE TORTURERS HAND AND PLIERS GRIPPING ONTO JOHN’S INDEX FINGER

CUT TO

MID-SHOT OF THE TORTURERS BACK BLOCKING THE VIEW OF JOHN

CUT TO

EXTREME CLOSE-UP OF JOHNS EYE REACTING TO THE PAIN

CUT TO

MID-SHOT OF THE MAN IN THE SUITS BREAST POCKET

The suit is vibrating and a phone is ringing inside the pocket. The Torturer stops hitting John and turns to look at The Man In The Suit.

CUT TO

LONG SHOT OF THE MAN IN THE SUIT WALKING TOWARDS THE DOOR

 

CLOSE UP OF THE MAN IN THE SUIT’S HAND AS HE GRABS THE DOOR HANDLE AND PULLS IT OPEN

CUT TO

LONG SHOT OF THE DOOR AS IT SLAMS CLOSED

CUT TO

 

5. INT. WAREHOUSE OTHER ROOM -DAY

 

The Man in the Suit is standing in the room looking around with a phone pressed onto his ear. Light illuminating through the doorway leading to the outside.

 

MID-SHOT OF THE MAN IN THE SUIT AS HE HOLDS THE PHONE TO HIS EAR

(PHONE)

(Snappily)

‘Well have you found out the location of the case yet’?

(THE MAN IN THE SUIT)

(Hesitantly)

‘Not yet but we are working on it, in fact I would say we are nearly done here’

(PHONE)

(Angrily)

‘You better not kill this one as well without finding out the location of the case, now hurry up and get me that case’

CUT TO

6. INT. WAREHOUSE MAIN ROOM - DAY

The Torturer is stood looming over John. Light is pouring in through the broken windows.

OVER THE SHOULDER SHOT OF JOHN, LOW ANGLE LOOKING UP AT THE TORTURER

(THE TORTURER)

(Angrily)

‘Where is the case I will ask you for the last time’

(JOHN)

(Smugly)

‘I’ve told you, you can find out over my dead body’

(THE TORTURER)

‘Funny you should say that your brother said the same thing’

CUT TO

CLOSE UP OF A MOBILE PHONE SAT ON A TABLE TOP

The Torturer walks towards the mobile and begins to flick through the menus

CUT TO

OVER THE SHOULDER SHOT OF JOHN AS THE TORTURER APPROACHES HIS HAND OUT TO THE SIDE WITH THE PHONE IN HIS HAND

CUT TO

OVER THE SHOULDER SHOT OF JOHN FOCUSING ON THE MOBILE PHONE

The mobile phone contains a video of John’s Brother George being shot.

CUT TO

7. INT. WAREHOUSE OTHER ROOM –DAY

The Man In The Suit is pacing around the room talking on the phone

 

LONG SHOT OF THE MAN ON THE PHONE PACING AROUND THE ROOM.

(MAN IN THE SUIT)

(angrily)

‘Ok look I’ll go back in there now’

The Man In The Suit walks towards the door making a hasty exit

CUT TO

CLOSE- UP SHOT OF THE MAN IN THE SUIT’S HAND AS HE OPENS THE DOOR

 

8. INT. WAREHOUSE MAIN ROOM –DAY

LONG SHOT OF THE DOOR AS THE MAN IN THE SUIT ENTERS

CUT TO

EXTREME CLOSE-UP OF THE MAN IN THE SUIT’S FACE

CUT TO

POV SHOT OF THE ROOM

(MAN IN THE SUIT)

‘What…The…Fuck’

The Torturer is lying dead on the floor; the chair John was sat on is on its side with the rope lying next to it. John is not in the shot.

CUT TO

CLOSE UP SHOT OF THE MAN IN THE SUITS PHONE FALLING TOWARDS THE FLOOR

FADE

 

9.EXT. UNKNOWN ROAD –DAY

A car is driving away from the audience.

LONG SHOT OF THE CAR AS IT DRIVES AWAY

CUT TO

CLOSE UP OF THE CAR AS IT PULLS UP FACING THE CAMERA

CUT TO

A HAND REACHES INTO THE BOOT OF THE CAR AND REACHES TOWARDS A SHOVEL.

CUT TO

CLOSE UP SHOT OF JOHN

John has a plaster on his nose and bloodied scratches on his cheek.

 

LONG SHOT OF JOHN AS HE WALKS TOWARDS AN UNKNOWN FIELD

CUT TO

CLOSE UP OF THE SPADE HITTING THE GROUND

CUT TO

A CASE IS SLAMMED ONTO THE CAR BUMPER

CUT TO

EXTREME CLOSE UP OF THE LEFT LOCK BEING CLICKED OPEN

CUT TO

EXTREME CLOSE UP OF THE RIGHT LOCK BEING CLICKED OPEN.

CUT TO THE REAR OF THE CASE AS JOHN STANDS LOOKING DOWN AT THE CASE.

 

FADE OUT TO BLACK