Thursday, 7 July 2011
PRODUCTION INTERNAL: Treatment.
The film opening begins with several establishing shots of a quiet suburban neighborhood just as the sun is starting to come up over the rooftops. We see a view of the street, empty except for a single car which passes by. We cut to a dark room. The only thing we can see, which fills the screen, is the red display of a digital alarm clock reading 6.30 AM. A hand reaches out and smacks it off, but we don't see the owner. At this point the music kicks in, "A Well-Respected Man" by The Kinks, just as we cut to a shot of the same hands, still ownerless, pulling open a set of curtains to reveal a view of a neat, suburban backyard complete with planter boxes etc. Next we see the hands again, putting toothpaste on a brush over a sink, and (off-camera) rinsing and spitting. We then have a close-up of the hands opening up a fridge, peering into it for a few seconds, and taking out milk. The fridge swings shut, and spelled out on the door in magnetic alphabet letters is "CROSSFIRE", the film's [working] title. The next thing we see is an overhead shot of a milk being added to a mug of black coffee, cut to toast being buttered, cut to a gun on the table next to the telephone, cut to the newspaper being opened, cut to hands picking up a big brown envelope ominously marked "CONFIDENTIAL." Once the envelope is opened and the contents slid out we see it is a file marked "TARGET." It contains detailed information and candid shots of a young woman, mostly in black and white as if taken from a surveillance van, which in fact they were. The right hand of our as-yet-invisible protagonist runs a finger across a picture of her laughing. We then have a mid-shot finally revealing our protagonist's face- he is an unassuming, mild-mannered looking guy named Elliot (although we haven't been shown this yet, it's just for documentation purposes) who you'd never believe would be a paid assassin for a living. He smiles a little sadly as he looks at the file then tosses it down on a table. We get one more shot of her face, with the word "TARGET" stamped in red across her eyes. Moving back out to a midshot we see Elliot put on a coat and scarf, grab his bag and head out the door as the song finishes. Our final shot is another high-angle showing the whole street as he walks off.
Monday, 4 July 2011
PRODUCTION INTERNAL: Concept Statement.
Genre: Romance.
Principal ideas: Character development/introduction of main protagonist.
Emotions I wish to evoke: Dark humor from the juxtaposition of the normal elements of a person's life with the protagonist's profession as an assassin.
Impact I wish to have on the audience: To introduce them to the main character and for them to be able to identify with him as a normal person even though he works as a paid assassin.
A brief outline of the story, character, style of the trailer: Our protagonist, an unassuming young man, prepares for his day. As he goes about his morning (using a montage of POV shots/close-ups/over-the-shoulder shots), we discover that he works as a paid assassin (shown by shots of weaponry, case files etc interspersed with shots of mundane things such as his morning coffee). He receives a file marked CONFIDENTIAL with details on a girl who he has been contracted to assassinate. He smiles as he reads about her (cuts between file and guy), then gets his coat/gun/bag etc (fast cutting) and leaves his house. We finish with a wide-angle shot of him walking down his street.
Principal ideas: Character development/introduction of main protagonist.
Emotions I wish to evoke: Dark humor from the juxtaposition of the normal elements of a person's life with the protagonist's profession as an assassin.
Impact I wish to have on the audience: To introduce them to the main character and for them to be able to identify with him as a normal person even though he works as a paid assassin.
A brief outline of the story, character, style of the trailer: Our protagonist, an unassuming young man, prepares for his day. As he goes about his morning (using a montage of POV shots/close-ups/over-the-shoulder shots), we discover that he works as a paid assassin (shown by shots of weaponry, case files etc interspersed with shots of mundane things such as his morning coffee). He receives a file marked CONFIDENTIAL with details on a girl who he has been contracted to assassinate. He smiles as he reads about her (cuts between file and guy), then gets his coat/gun/bag etc (fast cutting) and leaves his house. We finish with a wide-angle shot of him walking down his street.
Monday, 20 June 2011
Genre Study: Horror Movie Conventions
The Masked Killer
The masked killer is a convention used in a number of the horror movies we have watched, most notably in Halloween and Scream. In Halloween, Michael Myers wears an expressionless rubber mask which acts both to create a fear of the unknown and to detract from his humanity. By hiding the killer's identity from his victim, this convention creates a deeper sense of fear in both the victim and the viewer. The fear of the unknown is something which is explored in a lot of horror movies, and the air of mystery around the killer's identity as a result of him being masked intensifies this fear.
In Scream, the mask itself is the thing which creates fear. By using a grim reaper mask, Billy and Stu are creating fear in their victims in two ways: one, by masking their identity from the people they are killing and the town in general and two, by using a mask with a frightening expression on its face, adding extra horror to the deaths of their victims. Scream also uses this convention to added effect by having two killers behind the mask, so the viewer, in retrospect, is never sure whether it is Billy or Stu committing the murder.
The masked killer is a convention used in a number of the horror movies we have watched, most notably in Halloween and Scream. In Halloween, Michael Myers wears an expressionless rubber mask which acts both to create a fear of the unknown and to detract from his humanity. By hiding the killer's identity from his victim, this convention creates a deeper sense of fear in both the victim and the viewer. The fear of the unknown is something which is explored in a lot of horror movies, and the air of mystery around the killer's identity as a result of him being masked intensifies this fear.
In Scream, the mask itself is the thing which creates fear. By using a grim reaper mask, Billy and Stu are creating fear in their victims in two ways: one, by masking their identity from the people they are killing and the town in general and two, by using a mask with a frightening expression on its face, adding extra horror to the deaths of their victims. Scream also uses this convention to added effect by having two killers behind the mask, so the viewer, in retrospect, is never sure whether it is Billy or Stu committing the murder.
The effect of the masked killer in both movies is to create an added air of suspense and fear. The lack of identity and the ambiguous nature of the killer creates distrust in the viewer of all characters. This helps to drive the plot and keep viewers engaged as it allows the question to remain: which character is the killer?
Since both of these films fulfill the conventions of a "slasher", the use of a masked killer to create mystery plays an important role in setting the overall tone of the film. Not knowing who is committing the murders acts to set the viewer on edge, which spills over into other aspects of the movie and makes the viewer suspect everyone. This is important because it allows the director to place clues as to the killer's identity, which in turn can provide a 'twist' ending when the killer is somebody no one expected.
In Halloween, although we as viewers know who the killer is from the opening scene, the characters do not. This adds to their fear, making the film more engaging for the viewer. This is a slightly less traditional form of the convention, as there is less mystery and fear for the viewer. In Scream, a more conventional approach is taken. The killer's identity is hidden from the audience, and a number of clues, red herrings and false trails are laid out to make sure the mystery remains. This keeps the audience guessing until the final moments of the movie, and even then there is still slight ambiguity as to whether or not the killer is really gone.
The use of this convention in both films added to their commercial success as it was both something that the viewers would expect, and something that could still shock and thrill them. This fits into the general concept of "safe" fear- the viewer can be frightened whilst they still have the knowledge that they are not in any danger, and still within their relative comfort zone.
Monday, 4 April 2011
Mise-en-scène
Mise-en-scène is used throughout the opening to evoke different emotions in the viewer, and to introduce several of the film's main themes, such as betrayal, abandonment and the loss of innocence.
Most notably, images such as a close-up on the dead inventor introduce the viewer to Edward's grief at the loss of his creator and the first human he felt an emotional attachment to. This helps the viewer to have an emotional attachment to Edward, which makes the rest of the film more compelling for them. The image of the dead inventor also relates to the film's themes of loss and abandonment. Edward feels abandoned by the inventor when he dies, and this is his first experience with loss. This is important because it marks the beginning of Edward's loss of innocence and also shows how effected he was by this, furthering the viewer's understanding of his character.
The recurring images of snow introduce a motif used throughout the film. At the very beginning, Kim's granddaughter asks the question, "where does snow come from?" In a way, the rest of the film is spent exploring this question, eventually revealing that in the case of the town, the snow is created by Edward carving ice statues, his way of expressing his love for Kim. The use of snow in the opening introduces this theme and shows how Edward has difficulty expressing his emotions conventionally, both because of his physical disability and because of his differences from 'normal' society.
Frequently, images of disused machinery and statues covered in cobwebs are used to convey the film's recurring theme of abandonment. Much like the house he inhabits, Edward is abandoned by the townsfolk for being outside the norm, and left to gather dust and be forgotten. The use of disused machinery represents this visually, helping the viewer to clearly understand one of the film's main themes, and also the film's main character.
This image, of a ghoulish statue covered in cobwebs, is shown along with the name of the actor who plays the titular character. The statue, like Edward, has been abandoned and left alone. This visual display of isolation helps the viewer to become emotionally invested in the film in the opening seconds, and to begin to understand the main character before he is even introduced.
Burton uses this technique in the openings of some of his other films, such as The Nightmare Before Christmas, in which different parts of Halloween Town are explored during the opening to give the viewer a visual sense of the world Jack Skellington inhabits. This helps the viewer to understand Jack's character and why he is so fascinated by the concept of Christmas Town, which becomes the main plot of the film. This use of Mise-en-scène in the opening is used to great effect by Burton in both films to give greater understanding to the viewer about the nature of the film, important themes and emotions, and an introduction to main characters and what drives them.
Transitions/Editing
Edward Scissorhands uses fade transitions to create flow within the opening and to give the opening a dreamlike quality which fits with the rest of the movie. The opening is comprised of numerous pan shots and close ups of different objects which represent themes in the film such as the betrayal of Edward by the townspeople and Edward's loss of innocence. By using fade transitions between them, Tim Burton has created a whimsical, flowing scene which draws the viewer into the fairytale feel which the film has.
The use of the fade transition and montage effect makes the opening feel dreamlike and gives the viewer the impression that they are drifting through Edward's thoughts. This gives the viewer an insight and introduction to Edward's character. Images used in the opening seem unrelated to each other, such as a shot of a staircase being followed immediately afterwards by a shot of some machinery such as a large pair of scissors, but are tied together and given meaning by the use of fade transitions. Other aspects of the opening such as a POV shot used with the staircase help to show the reader that the opening is from Edward's point of view, and shows his emotions and his mindset. The use of a montage gives the opening a fairytale feel which relates to the childlike manner of Edward at the beginning of the film.
Other editing techniques are used in the opening, such as the 'scissoring' effect on the titles of the film. This is an reference to the recurring motif of scissors used throughout the film. Edward's scissorhands are used as a metaphor for his differences from regular society, a theme which is explored in the film through his rejection by the townspeople out of their fear of his differences. The use of a scissoring effect on the film's title helps to introduce this motif within the first few seconds of the film and help tie the opening visually with the rest of the film.
The use of the fade transition and montage effect makes the opening feel dreamlike and gives the viewer the impression that they are drifting through Edward's thoughts. This gives the viewer an insight and introduction to Edward's character. Images used in the opening seem unrelated to each other, such as a shot of a staircase being followed immediately afterwards by a shot of some machinery such as a large pair of scissors, but are tied together and given meaning by the use of fade transitions. Other aspects of the opening such as a POV shot used with the staircase help to show the reader that the opening is from Edward's point of view, and shows his emotions and his mindset. The use of a montage gives the opening a fairytale feel which relates to the childlike manner of Edward at the beginning of the film.
Other editing techniques are used in the opening, such as the 'scissoring' effect on the titles of the film. This is an reference to the recurring motif of scissors used throughout the film. Edward's scissorhands are used as a metaphor for his differences from regular society, a theme which is explored in the film through his rejection by the townspeople out of their fear of his differences. The use of a scissoring effect on the film's title helps to introduce this motif within the first few seconds of the film and help tie the opening visually with the rest of the film.
By introducing this theme early on in the film, Burton allows the viewer to identify more deeply with the emotions it stirs in Edward, such as his grief at finding acceptance and then losing it again just as quickly, and the isolation he feels as a result of his differences. Through this theme, the viewer can identify more with Edward, which makes the whole film more emotionally compelling.
Sunday, 27 March 2011
Color
Color is used in the opening sequence to give a sense of abandonment and loneliness to the opening. A blue filter is used in all frames throughout the opening sequence, usually showing blue objects on a black background. This is particularly effective as blue is a color generally associated with sadness, and so it serves to expand on the emotions created by other aspects of the opening.
In particular, the way that the blue filter affects the way objects are represented is very effective. Cookies, something usually associated with warmth and friendliness, suddenly appear to represent loneliness and lost childhood when shown in blue.
The same effect is used with other objects such as hands, which are another symbol generally associated with life and warmth. When shown in blue, they represent death and the isolation and loss Edward feels at the death of the inventor. They also represent his longing to have hands of his own, and the way he is now different to everyone else. This is effective in putting the viewer in the right mindset for the rest of the film by showing them that many objects that generally have positive connotations can be negative too.
The use of the blue filter also relates to snow which is a recurring icon throughout the film. The snow represents Edward's love for, and his capacity to understand, beauty, even though he himself is seen as a monster by the townspeople. This is seen especially in one of the film's most iconic scenes, where Kim dances in the snow as Edward carves an ice sculpture of her. This scene represents Edward's final moment of innocence and purity before the townspeople turn on him. In this way, snow is also used to reprent Edward's innocence, and the loss of it. This is important to the main themes of the film and the use of cold colors relating to the snow helps to reinforce this.
The use of a blue filter creates meaning in the film opening by reinforcing the themes of the movie's narrative and dictating the viewer's emotional response to the film. By using a muted palette of cold colors, Tim Burton has effectively told the viewer that Edward Scissorhands is a film which deals a lot with loneliness, rejection, isolation and abandonment. These themes are revisited many times throughout the film; through the loss of the inventor and Edward's abandonment issues stemming from this, Edward's rejection by the townspeople for his differences to them, and his eventual isolation from society when he chooses to fake his own death and live out his life in solitude rather than deal with the pain of rejection. The use of color is important in achieving this because the human mind automatically associates different colors with different emotions. Therefore, using only blue, black and white colors is a simple yet effective way to set the tone in the film without distracting attention from the movie's titles. Tim Burton also uses this technique in some of his other films, most notable in The Nightmare Before Christmas, where Burton uses different color palettes to differentiate between the warmth and happiness of Christmas Town and the dreary, depressing mood of Halloween Town, similar to the way color is used to underline the mood in Edward Scissorhands.
In particular, the way that the blue filter affects the way objects are represented is very effective. Cookies, something usually associated with warmth and friendliness, suddenly appear to represent loneliness and lost childhood when shown in blue.
The same effect is used with other objects such as hands, which are another symbol generally associated with life and warmth. When shown in blue, they represent death and the isolation and loss Edward feels at the death of the inventor. They also represent his longing to have hands of his own, and the way he is now different to everyone else. This is effective in putting the viewer in the right mindset for the rest of the film by showing them that many objects that generally have positive connotations can be negative too.
The use of the blue filter also relates to snow which is a recurring icon throughout the film. The snow represents Edward's love for, and his capacity to understand, beauty, even though he himself is seen as a monster by the townspeople. This is seen especially in one of the film's most iconic scenes, where Kim dances in the snow as Edward carves an ice sculpture of her. This scene represents Edward's final moment of innocence and purity before the townspeople turn on him. In this way, snow is also used to reprent Edward's innocence, and the loss of it. This is important to the main themes of the film and the use of cold colors relating to the snow helps to reinforce this.
The use of a blue filter creates meaning in the film opening by reinforcing the themes of the movie's narrative and dictating the viewer's emotional response to the film. By using a muted palette of cold colors, Tim Burton has effectively told the viewer that Edward Scissorhands is a film which deals a lot with loneliness, rejection, isolation and abandonment. These themes are revisited many times throughout the film; through the loss of the inventor and Edward's abandonment issues stemming from this, Edward's rejection by the townspeople for his differences to them, and his eventual isolation from society when he chooses to fake his own death and live out his life in solitude rather than deal with the pain of rejection. The use of color is important in achieving this because the human mind automatically associates different colors with different emotions. Therefore, using only blue, black and white colors is a simple yet effective way to set the tone in the film without distracting attention from the movie's titles. Tim Burton also uses this technique in some of his other films, most notable in The Nightmare Before Christmas, where Burton uses different color palettes to differentiate between the warmth and happiness of Christmas Town and the dreary, depressing mood of Halloween Town, similar to the way color is used to underline the mood in Edward Scissorhands.
Thursday, 24 March 2011
Music
The music in the opening titles, composed by Danny Elfman, contributes greatly to the overall tone of the opening. The score is very cinematic and also includes a choir. The slow, sweeping movement of the score helps to create the mood of sadness and loneliness present throughout the opening.
The use of a glockenspiel at the very beginning brings the score in gently and quietly. It creates a soft, ethereal tone which is carried through into the rest of the opening. The sound of the glockenspiel resembles a music box which helps to create the fairytale feel seen in the opening, and in the rest of the film. This is an effective opening to the film as it introduces the viewer to the themes and emotions of the film, such as Edward's isolation and exile from society after he is rejected for his differences. The beginning of the opening track also has a very innocent, childlike tone to it, representing Edward's innocence at the beginning of the film.
The synchronization of the music with the images on-screen is also effective in tying the music to the rest of the film. This is seen especially near the end, in the final buildup of the scene's music, when the musical notes coincide with the appearance of cookies on screen. This visually enhances the buildup in the music and when the score reaches its peak, this is reflected onscreen by a sudden cascade of cookies, as opposed to the isolated ones appearing previously.
These different uses of music are effective in creating meaning in the opening titles because they heighten the emotion portrayed through the opening, and connect the viewer emotionally to the movie and its characters before the beginning of the narrative. The simple glockenspiel at the beginning gives the viewer a childlike sense of wonder, like Edward. As the music swells and grows, the emotion felt by the viewer also deepens, helping to set the emotional tone of the film and introduce the viewer to the key moods and themes of the film.
The use of a glockenspiel at the very beginning brings the score in gently and quietly. It creates a soft, ethereal tone which is carried through into the rest of the opening. The sound of the glockenspiel resembles a music box which helps to create the fairytale feel seen in the opening, and in the rest of the film. This is an effective opening to the film as it introduces the viewer to the themes and emotions of the film, such as Edward's isolation and exile from society after he is rejected for his differences. The beginning of the opening track also has a very innocent, childlike tone to it, representing Edward's innocence at the beginning of the film.
The synchronization of the music with the images on-screen is also effective in tying the music to the rest of the film. This is seen especially near the end, in the final buildup of the scene's music, when the musical notes coincide with the appearance of cookies on screen. This visually enhances the buildup in the music and when the score reaches its peak, this is reflected onscreen by a sudden cascade of cookies, as opposed to the isolated ones appearing previously.
These different uses of music are effective in creating meaning in the opening titles because they heighten the emotion portrayed through the opening, and connect the viewer emotionally to the movie and its characters before the beginning of the narrative. The simple glockenspiel at the beginning gives the viewer a childlike sense of wonder, like Edward. As the music swells and grows, the emotion felt by the viewer also deepens, helping to set the emotional tone of the film and introduce the viewer to the key moods and themes of the film.
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