Friday, 17 December 2010
Thursday, 16 December 2010
Pitch
In todays lesson we pitched our idea for out film and title sequence, explaining the characters, the setting and the story line. We used our pitch and treatment to help explain everything that we are going to be doing and the reasons behind our story line.
Shooting Script
"A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well defined set of procedures specifying how script revisions should be implemented and circulated."
(http://en.wikipedia.org/wiki/Shooting_script)
(http://en.wikipedia.org/wiki/Shooting_script)
Ideas for title sequence
Genre - suspense/ Horror
Music- Hans Zimmer/Daniel Lincht
Setting - House and Woods
Producing Industry -Lionsgate
Typography - Edgy (Dafont)
Dull contrast of dull washed out colours
Eeire/Jumpy rather than gory Cinematography like Paranormal Activity
Produced by Jerry Brickheimer
Wednesday, 15 December 2010
Mise - en - scene
"Mise-en-scène is what we see in a film; editing is what we do not. These are simplified definitions, but they emphasize two essential things: the basic building blocks of a film—the shot and the cut—and the complexities of each that allow a film to achieve its texture and resonance. Mise-en-scène concerns the shot, though we need to keep in the back of our minds that editing—putting two shots together—affects not only how a film's narrative is structured but how the shots are subsequently understood by viewers."
Mise - en - scene is french for "placing on stage" or in media and film terms, "Everything in the frame" which is basically everything that appears before the camera in every shot.
The term was brought into film by a group of French film critics in the 1950s, many of whom would become directors and constitute the French New Wave in the 1960s.
The mise - en - scene is made by the construction of shots and the ways in which they reach the audience from shot to shot; this will include all of the elements in front of the camera which compose the shot - lighting, the placement of the characters which are in the scene, the design elements within the shot ( for example props ), comosition of the shot as a whole - how it is framed and what is in the frame. Even music can be counted as part of the mise - en - scene, even though it is not seen, music can enhance the visuals and the narrative of the shot.
Without the audience knowing, the mise - en - scene is very important in the title sequence of a film, as the audience will want to see the main charactor(s) within the first few minuets as well as the main location in which the film is set so that they are aware in what is going on, take Saw for example, in the first film within the first few seconds we knew exactly who the main characters were and the location, as well as some of the plot with out knowing too much too early; the main charactors being the victim(s), the "game master" and the location in which the "game" is set, this could be anything from a basement to an old lock up. Even though the audience will not know why the victim is in the place they are, this will be found out later on in the film when it plays out.
Mise - en - scene is french for "placing on stage" or in media and film terms, "Everything in the frame" which is basically everything that appears before the camera in every shot.
The term was brought into film by a group of French film critics in the 1950s, many of whom would become directors and constitute the French New Wave in the 1960s.
The mise - en - scene is made by the construction of shots and the ways in which they reach the audience from shot to shot; this will include all of the elements in front of the camera which compose the shot - lighting, the placement of the characters which are in the scene, the design elements within the shot ( for example props ), comosition of the shot as a whole - how it is framed and what is in the frame. Even music can be counted as part of the mise - en - scene, even though it is not seen, music can enhance the visuals and the narrative of the shot.
Without the audience knowing, the mise - en - scene is very important in the title sequence of a film, as the audience will want to see the main charactor(s) within the first few minuets as well as the main location in which the film is set so that they are aware in what is going on, take Saw for example, in the first film within the first few seconds we knew exactly who the main characters were and the location, as well as some of the plot with out knowing too much too early; the main charactors being the victim(s), the "game master" and the location in which the "game" is set, this could be anything from a basement to an old lock up. Even though the audience will not know why the victim is in the place they are, this will be found out later on in the film when it plays out.
Romantic Comedy
"Romantic Comedy films are light-hearted and humerouse, centering on romantic ideals such as a true love able to surmount most obstables" Romanic Comedy films are a sub-genre of a Comedy film, as well as Romance films, which often also have some elements of screwball comedies and stoner comedies; Screwball comedies being a type of conedy that was popular in the 1930s, chacterised by frantic action, verble wit, characters being in bizarre predicaments, and using "slapstick humor". An example of films from this genre being "Bringing Up Baby" and its loose remake, "Whats UP, Doc?" Stoner Comedies or Stoner filmers revolve around the use of marijuana, showing cannabis use in a comic and positive fashion, as well as cannabis being used as one of the main theams and inspiering most of the plot. The historic film "Reefer madness" is now classed as a Stoner Comedy, but some more recent example being films such as "The Pineapple Express", "Harold & Kumar Escape from Guantanamo Bay" and "The Simpsons Weekend at Burnsie's" Romantic Comedies involve dramatic story lines about romance with the light humours touch, the dramatic romantic issues that are brought up in a Romantic Comedy are those such as, true love does exist, there is someone out there just for us, and id we could only find them, we would experiance true love and that romance can overcome all obstacles. as well as this a Romantic comedy offers the audiance an experiance of shared itimacy within couples; be them married, dating, young or old, and seeing this is fulfinging and pleasurable.
The most common story line for a "Rom Com" is that, two protagonists, usually these being one male and one female, meet, then part ways due to some kind of obstacle and then they are reunited. The male and female could be hesitant to become romantically involved, this being one of the most common obsticles in a romantic comedy, they do not want to belive that they have feelings for each other, sometimes this could be that one of them already has a partner, but the screenwriterswill leave clues to suggest to the audiance that there will be a happy ending sfter all the obstacles have been overcome. "Rom Coms" can appeal to both men and women, and this is done by combining both the use of a romatic comedy and stoner comedys, a brilliant exmaple of this is the film "Knocked Up", films such as these, more often then not, will use sexual content to bring the two main charaters together, another film which does this is "American Pie".
The most common story line for a "Rom Com" is that, two protagonists, usually these being one male and one female, meet, then part ways due to some kind of obstacle and then they are reunited. The male and female could be hesitant to become romantically involved, this being one of the most common obsticles in a romantic comedy, they do not want to belive that they have feelings for each other, sometimes this could be that one of them already has a partner, but the screenwriterswill leave clues to suggest to the audiance that there will be a happy ending sfter all the obstacles have been overcome. "Rom Coms" can appeal to both men and women, and this is done by combining both the use of a romatic comedy and stoner comedys, a brilliant exmaple of this is the film "Knocked Up", films such as these, more often then not, will use sexual content to bring the two main charaters together, another film which does this is "American Pie".
Saul Bass
Saul Bass was born in May 8, 1920, in New York City. He studied at the Art Students League in Manhattan until attending classes with Gyorgy Kepes at Brooklyn College. He began his time in Hollywood doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.
Juno Title Sequence
The open titles for Reitman's critically acclaimed indie-comedy film, Juno, where hand craften by Shadowplay Studio.
As the title sequence starts we hear the music, "All I want is you to be my sweet honny bee, and if I was a tree growing tall and green, all Id want is for you to shave me and be my leaves", the lyrics in the song already suggest to the audiance (for exmaple myself) that the film is going
to have a romantic touch to it, maybe with some problems along the way. We see Juno walking down, what looks like, to be a subberban street holding a large bottle of "Sunny D" in her hands, and then she walks through a group of boys running down the road in some sort of uniform. You
would think that being a film aimed at teenages it would be bright and colourful out, almost as if the titles had be edited to be perficly coloured,and bright and happy, but in Juno, you can tell that is is a sunny day out but its still dark in the back ground, which does not suggest that she is a good mood as she bowls down the road.
Juno, and the street that she is walking down then all turns into cartoon images, these again not being very bright, all dark and nutral colours, very monotone, and the only thing with shadding in the title sequence, is Juno. The intremental for the playing again in the background. Next Juno
is standing at a cross road, with foreshaddows that there will be a dissions that she will have to make, she takes a mouthful of the "Sunny D" that she is holding in her hands and then we see her fidgiting feet, which could be portrating that she is nurvouse about something or thinking.
Behind the feet we see a pair of legs, exactly the same as the ones which are Juno's, walking down the road, we then see her from the waist down
swinging the "Sunny D" bottle by her side. Next we see Juno again, bowling down a road, Juno being the only part of the shot which does not look like it has been drawn, there is still an element of realism in her, like she is a photograph on a drawn background. The lyrics to the song which we first heard in the beging start playing again, suggesting that there may be a relationship with her and a boy, and they are "in love" and "JUNO" is flashing beside her in hand drawn black letters. The camera then moves upwards to see the top of a telegraph pole and small hand drawn birds flying in the dull bluey gray, cloudless sky.
We then see a closs of shot of Juno's gray face smiling, and then to a close up of her legs and feet walking down an outline of a white chair and acustic guitar, this again foreshaddowing that they both play a large part in the upcoming film, with her "Sunny D" bottle still swinging at her side.
Then we just see Juno walking down a road past houses, then turning down another road to walk past some shops, the scenery still being very dull, not much colour to anything, everything is the same, as if the writer of "Juno" is telling the audiance that life is boring, or that what ever in the background is boring, you have to make your life colourful and exiting yourself. Then as Juno is walking past a shop, its outlining starts to dissapear, as if it is deteriarating, foreshaddowing that something bad is going to happen and that everything will then "fall apart".
When Juno leaves the shot there is nothing left of the shop that she has just walked past, apart from the dull coffe colour and a few lines. We then see Juno standing infront of this, waiting to cross the road, and then behind her another shop is draw on to where the other one was, as if it is portraying that even though sometimes is may seem like everything is gone and the world is about to end, you can build your life back up and everything will be okay in the end. Juno moves closer in to the shot, then all we see is a close up of her hand unscrewing her "Sunny D" bottle, and then close up of her drinking it as she walks, but all we can see behind her is the dull colour of the sky, the only colour in the shot is coming from her red jumper. Next there is a birdseye few of Juno walking down a beige pavement, and the dull colour of the sky/background surrounding that pavement, she then looks up at the camera and has a smerk on her face.
She walk out the shot and then into another one where she is walking along a park, the only colour being her, the dark green of the grass and then we see the boys in their running outfits funny along the grass, infront of the outline of white drawn trees. The shot changes to see her walking down the road from behind, and the boys running past her again, this tells us that one, of not more, of these boys plays a main part in the film.
For the next few shots they are the same as the first, Juno is walking down a very bland road, we switch from seeing her from behind, to her feet, to her
side, and then a close up of her face with a smirk on it, then back to seeing her walking down a road where all we can see is the out line of a boy on a skate board, a few trees and a shop, it all being the same coffee colour brown - the shot then changes to gradually being back to normal, but the last thing to change from being drawn into the film is Juno, we see a young boy and girl standing outside this shop and Juno walks in, still with her overly large "Sunny D" in her hand.
As the title sequence starts we hear the music, "All I want is you to be my sweet honny bee, and if I was a tree growing tall and green, all Id want is for you to shave me and be my leaves", the lyrics in the song already suggest to the audiance (for exmaple myself) that the film is going
to have a romantic touch to it, maybe with some problems along the way. We see Juno walking down, what looks like, to be a subberban street holding a large bottle of "Sunny D" in her hands, and then she walks through a group of boys running down the road in some sort of uniform. You
would think that being a film aimed at teenages it would be bright and colourful out, almost as if the titles had be edited to be perficly coloured,and bright and happy, but in Juno, you can tell that is is a sunny day out but its still dark in the back ground, which does not suggest that she is a good mood as she bowls down the road.
Juno, and the street that she is walking down then all turns into cartoon images, these again not being very bright, all dark and nutral colours, very monotone, and the only thing with shadding in the title sequence, is Juno. The intremental for the playing again in the background. Next Juno
is standing at a cross road, with foreshaddows that there will be a dissions that she will have to make, she takes a mouthful of the "Sunny D" that she is holding in her hands and then we see her fidgiting feet, which could be portrating that she is nurvouse about something or thinking.
Behind the feet we see a pair of legs, exactly the same as the ones which are Juno's, walking down the road, we then see her from the waist down
swinging the "Sunny D" bottle by her side. Next we see Juno again, bowling down a road, Juno being the only part of the shot which does not look like it has been drawn, there is still an element of realism in her, like she is a photograph on a drawn background. The lyrics to the song which we first heard in the beging start playing again, suggesting that there may be a relationship with her and a boy, and they are "in love" and "JUNO" is flashing beside her in hand drawn black letters. The camera then moves upwards to see the top of a telegraph pole and small hand drawn birds flying in the dull bluey gray, cloudless sky.
We then see a closs of shot of Juno's gray face smiling, and then to a close up of her legs and feet walking down an outline of a white chair and acustic guitar, this again foreshaddowing that they both play a large part in the upcoming film, with her "Sunny D" bottle still swinging at her side.
Then we just see Juno walking down a road past houses, then turning down another road to walk past some shops, the scenery still being very dull, not much colour to anything, everything is the same, as if the writer of "Juno" is telling the audiance that life is boring, or that what ever in the background is boring, you have to make your life colourful and exiting yourself. Then as Juno is walking past a shop, its outlining starts to dissapear, as if it is deteriarating, foreshaddowing that something bad is going to happen and that everything will then "fall apart".
When Juno leaves the shot there is nothing left of the shop that she has just walked past, apart from the dull coffe colour and a few lines. We then see Juno standing infront of this, waiting to cross the road, and then behind her another shop is draw on to where the other one was, as if it is portraying that even though sometimes is may seem like everything is gone and the world is about to end, you can build your life back up and everything will be okay in the end. Juno moves closer in to the shot, then all we see is a close up of her hand unscrewing her "Sunny D" bottle, and then close up of her drinking it as she walks, but all we can see behind her is the dull colour of the sky, the only colour in the shot is coming from her red jumper. Next there is a birdseye few of Juno walking down a beige pavement, and the dull colour of the sky/background surrounding that pavement, she then looks up at the camera and has a smerk on her face.
She walk out the shot and then into another one where she is walking along a park, the only colour being her, the dark green of the grass and then we see the boys in their running outfits funny along the grass, infront of the outline of white drawn trees. The shot changes to see her walking down the road from behind, and the boys running past her again, this tells us that one, of not more, of these boys plays a main part in the film.
For the next few shots they are the same as the first, Juno is walking down a very bland road, we switch from seeing her from behind, to her feet, to her
side, and then a close up of her face with a smirk on it, then back to seeing her walking down a road where all we can see is the out line of a boy on a skate board, a few trees and a shop, it all being the same coffee colour brown - the shot then changes to gradually being back to normal, but the last thing to change from being drawn into the film is Juno, we see a young boy and girl standing outside this shop and Juno walks in, still with her overly large "Sunny D" in her hand.
Monday, 13 December 2010
Codes Conventions and Purpose of a Title Sequence
The basic purpose of a title sequence is draw the audience into the film, but without giving too much away. When you watch the first three minuets of a film you do not want to know everything that is going to happen in the film.
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic:
Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.
Some codes fit both categories – music for example, is both technical and symbolic.
Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific.
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic:
Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.
Some codes fit both categories – music for example, is both technical and symbolic.
Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific.
Thriller Genre
The Thriller genre consists of a movie that is known to be set in a holly setting, or exotic settings for example; foriegn cities, gigh seas. Thrillers also usually end up, with what you might call a 'hero' that sorts the situation out.
Thrillers usually reflect a mystery story. Or the hero will find a plan to stop the situation from continuing.
Wikipedia.
In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect, a supernatural entity, aliens, serial killers, or even microbes or chemical agents. Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bodies of work.
Friday, 10 December 2010
Production Company
"A production company is a company responsible for physical production of new media, performing arts, film, radio or a television program. The company may also be directly responsible for the raising of funding for the production or may accomplish this through an intermediary. The production company may be a small company, selling its product to a film studioor presenting it at a theatrical venue, or, in the case of film and television, it may be the studio itself."
Hammer Film Productions
Hammer Film Productions is a film production company based in the United Kingdom. Founded in 1934, the company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. Hammer also produced science fiction, thrillers, Film Noir and comedies – and in later years, television series. Hammer films had low budgets, but nonetheless appeared lavish, making use of quality British actors and cleverly designed sets. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros.
During the late 1960s and 1970s the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and has since then been, in effect, in hibernation. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi. The company announced plans to begin making films again after this, but none were produced. In May 2007, the company behind the movies was sold again, this time to a group headed by Big Brother backers, the Dutch consortium Cyrte Investments, who have announced plans to spend some $50m (£25m) on new horror films. The new owners have also acquired the Hammer group's film library.
Paramount Pictures
Paramount Pictures Corporation is a global producer and distributor of filmed entertainment, with robust and multi-faceted divisions across all areas including digital, home entertainment, network and cable television distribution, studio operations, and consumer products and recreation. A unit of the leading global entertainment content company, Viacom, Paramount is part of a family of prominent and respected brands including MTV Networks and BET Networks.
Paramount consists of several film labels including, the legendary Paramount Pictures; leading youth brand, MTV Films; the preeminent family entertainment label, Nickelodeon Movies; and specialty film labels, Paramount Vantage and Paramount Classics. In addition, the Studio will continue to release a number of films under the DW label. Paramount also has established distribution deals with iconic comic book creator, Marvel Entertainment and renowned animated film producer, DreamWorks Animation.
The Company’s global business operations include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Worldwide Television Distribution.
Hammer Film Productions
Hammer Film Productions is a film production company based in the United Kingdom. Founded in 1934, the company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. Hammer also produced science fiction, thrillers, Film Noir and comedies – and in later years, television series. Hammer films had low budgets, but nonetheless appeared lavish, making use of quality British actors and cleverly designed sets. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros.
During the late 1960s and 1970s the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and has since then been, in effect, in hibernation. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi. The company announced plans to begin making films again after this, but none were produced. In May 2007, the company behind the movies was sold again, this time to a group headed by Big Brother backers, the Dutch consortium Cyrte Investments, who have announced plans to spend some $50m (£25m) on new horror films. The new owners have also acquired the Hammer group's film library.
Paramount Pictures
Paramount Pictures Corporation is a global producer and distributor of filmed entertainment, with robust and multi-faceted divisions across all areas including digital, home entertainment, network and cable television distribution, studio operations, and consumer products and recreation. A unit of the leading global entertainment content company, Viacom, Paramount is part of a family of prominent and respected brands including MTV Networks and BET Networks.
Paramount consists of several film labels including, the legendary Paramount Pictures; leading youth brand, MTV Films; the preeminent family entertainment label, Nickelodeon Movies; and specialty film labels, Paramount Vantage and Paramount Classics. In addition, the Studio will continue to release a number of films under the DW label. Paramount also has established distribution deals with iconic comic book creator, Marvel Entertainment and renowned animated film producer, DreamWorks Animation.
The Company’s global business operations include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Worldwide Television Distribution.
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