Preliminary Task 1- PLAN

Preliminary task 1

Brainstorm

Overall plan /Plot

Villain walks down a brightly lit hallway, followed by bodyguards. Villain stops outside a double set of doors, with one bodyguard on either side. Villain slowly opens door revealing a dark room with a captive bound to a pole. Villain rips duct tape off of captive’s mouth with a painful ‘rip’, and proceeds to interrogate captive. Captive replies in ignorance. Villain exits room in silhouette signalling for his bodyguards to enter (to kill captive). Scene ends with shot of captive desperately trying to break free.

Updated Version: 
Villain drives up on a motorbike, hops off and walks up to a closed garage door. Villain bangs on door and it opens up manually from his' body guards who positioned inside the garage. Villain walks down a crowded hallway in silhouette. Scene changes to a dark, red lit, room with a captive bound to pole. The villain crouches down, and threatens captive, interrogating him. Captive responds. Villain signals for bodyguards to enter, exiting the scene. Bodyguards unbind captive and vigorously walk away with captive struggling in their arms.

Story Board

 Talent/actors

Villain- Josh Campbell 

Bodyguard 1- Theo Payn

Bodyguard 2- Nicholas Farrow

Captive- Oscar Ironside
Updated:
Villain- Theo Payn
Bodyguard 1- Nicholas Farrow 
Bodyguard 2- Zach Parratt
Captive- Oscar Ironside

Location

We had hoped to film inside and ajar to the multi-purpose room. However, due to the unwanted diegetic music that would be over heard from the dance room next door, as well as the chatter and visual disturbance of parents along the adjacent hallway, we decided to shift our location to a garage and car park.

Shot list

Costumes and props

I was first to jump up at the opportunity to organise costumes! I love the importance it has as part of mise-en-scene to create verisimilitude. In our skit, we have four characters that need costumes:

- Business man (villain).

Ø I picture this character in a full black suit, (shirt, suit jacket, dress pants/jeans) and black dress shoes, to signify his status and power in the film. The black also indicates the characters malicious motives. This high class, villain is a key stereotype and suggests the evil that monetary power is often associated with.This high end character also challenges the idea that crimes committed by the wealthy, are overlooked and accepted because of their power and ability to pay their way out of criminal, or socially unaccepted situations.  This This role is played by Theo Payn. I can source a suit jacket, and he will most likely be wearing dress shoes and jeans. This is the look I have planned:

- Body guards (villain associates/assistances)

Ø These two characters are basically mirrors of each other. They move at the same time, in the same direction. They have no speaking role in the film, but are used to emphasise the power of the villain (the business man). I envision them fully decked in tight black casual clothes, the casual look states to the audience that they are of lower status than the villain who holds superiority in the film. The black uniform will show their  lack of individuality under the villains peremptory rule. it will also show their association with evil. The tightness of their clothes will parallel to the tight reign of power that the villain has. These characters challenge the idea of those communities/ countries in society who have been forced to follow leaders every command without challenging concepts, and regulations and who have no freedom of speech. It will also evoke the audience to question the responsibility of people associated with 'evil deeds' or socially unacceptable practices, who themselves aren't committing injustice but who follow the lead of those who do. I will ask the talents if they have their own black top and to bring it in. The black shoes and pants will be  easily sourced, as part of the senior high boy’s school uniform (black dress pants and shoes). This is the sort of idea I image:

- Captive (tied to a pole).

Ø The captive is a character who has been denied all pride and dignity. I imagine the captive dressed in tatters, to mirror the state of his inner turmoil (due to his captivity).  I thought we would leave him bare chested, maybe even add some dirt and red whip marks/ scratches using tomato sause/lipstick. For the pants I will source denim mid length shorts. The captive will be wearing bare feet. This stereotypical helpless character challenges gender roles, here the girl is the 'damsel in distress'. This character represents those who are 'bound up' with obstacles they could not prevent, whose circumstances bind their personal happiness. or perhaps those who have been treated with prejudiced against superior class, and who have experienced social injustices.The iconography of the red scratch marks represents the hardships suffered by these unfairly treated citizens. I imagine him to look somewhat like this:

Other props:

- Dirt ( Ill bring in)- Iconography, symbolising the hardships of lower class citizens 

- Red lipstick (Ill bring in) -Iconography, symbolising the pains inflicted on the lower class from the higher, more privilege classes.    

Lighting plan

Filming Day operations

•           Equipment final check- Addison Saxby

•           Audio Operator- Gilmark Manyere

•           Lighting/ Flecky- Ella Ironside (me)

•           Camera Operator- Addison Saxby

•           Location shot setup- Gilmark Manyere

•           Director / Time keeper- Ella Ironside (me)

•           Actors- Addison Saxby 

Equipment list

•          Camera

•           Camera bag

•           Camera stand

•           Batteries + Battery charger

•           Duct tape

•           Chair

•           Flecky

•           Lights (X3)

•           Lighting stands

•           Red cellophane

•           Rope

•           White shirt ripped

•           Denim shorts

•           Black fitted shirt (X2)

•           Black suit jacket

Conventions

-Antagonist wears cloths of a dull/ dark colour pallet

Ø This renders to the audience a notion that the antagonist has skew and dismal motives.  The smart, business suit in our case, will also hint that the antagonist holds power and status in this film.

-Low key lighting

Ø This gives the scene an element of suspense. If the audience’s view is party hindered by the dark of the surroundings, the audience: 1- can’t attain much visual context about the scene and 2- they will feel a scene of unease or uncertainty, which subsequently leads to suspense.

Ø Our scene starts off in a well-lit hallway and progresses into a dark room with dim, red light. The equilibrium of light in the beginning of the scene is therefore broken as the dark room is entered. I’m hoping the change in lighting will also instil suspense. 

-Low angled shots

Ø In shot four (viewed on storyboard), we are shooting at a low angle looking up at the antagonist. This shows the audience who holds power and domination in the scene.

Ø To contrast these low angled shots, we are planning to shoot a high angled shot of the protagonist struggling to break out of captive at the end of the scene. Being ‘looked down upon’ emphasises the issue that the protagonist has no control over his situation.

-Contrast of shot duration

Ø A slow tracking shot initiates our scene. This placid camera movement directly contrasts the quick shot that follows, (an extreme close up of hand gripping door). Then again a slow mid shot, (antagonist opening door) followed by a quick shot (revealing protagonist who is bond). These contrasting shots give a jerky stop start motion, which again adds unease and suspense.

-Heightened diegetic sound

Ø I would like to include the sound the door creaking. The heightened noise of the door will in turn elevate the dramatic effect on the audience. It also involves us in the story and creates verisimilitude.

-Slow eerie music

Ø I would like to add eerie music as the protagonist walks down the hallway starting the scene. Uneasy music has the power to play with the audiences emotions and put them on edge.   

-Close/ extreme close ups

Ø Reveal the emotions of the protagonist, helping the audience to feel for and sympathise with him. This makes it even more disconcerting when the protagonist is in danger, or in our case, struggling to break free before the bodyguards come in to eliminate him.

-Hand held camera

Ø During the time at the end of our film, the camera is hand held at a high angle pointing down at our captive protagonist as he is trying to break free. This ‘wobbly’, unsteady camera angle mirrors the unease and distress of the protagonist.

- Red hue lighting

Ø We are planning to a use a red hue on our lighting when filming in the dark auditorium. The purpose of this is to emphasis the danger our protagonist is in.

                                               Principals of continuity

-180o rule

 Ø  In our film we have incorporated he 180o rule. First off as the antagonist walks on the camera tracks him from left to right. As the camera tracks down the hallway with the protagonist, we will make sure it does not rotate more than 180o. The camera angle then jumps to a still shot of the protagonist in the middle of the frame, the 180o rule is not broken even though the position of the camera has moved.

 Ø Again, when the camera focusses on the antagonist for the first time, we catch a quick glimpse of him from the side, then again from the front. This 90o turn of camera direction does not break the 180o rue, yet it does give the audience a purposeful sense of disorientation.

-Match on action

Ø  The first shot of the protagonist walking down the hallway, is then followed by a still shot of him with his bodyguards on either side, outside a set of double doors. This is the first match on action. We don’t experience the bodyguards splitting and positioning themselves on either side of the protagonist, yet the audience can still grasp want has happened.

Ø The second time we see a match on action is when the protagonist is slowly opening the door. Later the protagonist appears in the dark room. The audience should register that the protagonist had walked into the room after he opened the door, without actually having to watch him walk into the room.

Ø Another time, we see a shot of the antagonist followed by a shot of the protagonist storming of the room in silhouette. Even though the audience doesn’t see the protagonist turn around to exit, we can fill in the gaps pretty easily.

-Shot reverse shot

Ø There are two main moments of shot reverse shot in our scene. Firstly, we receive a close up of the captive/antagonist followed by an over the shoulder shot of the protagonist ripping the duct tape off the antagonist. The focus has quickly changed between the antagonist to protagonist (shot reverse shot).

Ø Again, we see a shot reverse shot reverse shot of the captive, responding to the protagonist’s unruly investigation. This focus changes between characters, depending on who’s talking.

Research- OPENING SEQUENCES

Opening Sequences

What is the purpose?

On the surface level, the purpose of a title sequence is to attribute credit to the producers and directors of a movie. Or even more simply, show case the movie’s title. However, there are many other implicit reasons why title sequences are produced.

Just like a cover of a book, title sequences are the ‘first glance’ our audience receives. They can either: draw the audience’s attention and interest, persuading them to experience more, or uninspire the audience and cause them to walk away without a second thought.

The effective graphics behind Title Sequences sets the tone and scene of the movie. For example, in the movie SKYFALL , (2012) directed by Sam Mendes, the Establishing Shot of the opening sequence revels the protagonist (James Bond played Daniel Craig) sinking lifelessly into a cool blue ocean.

Already, the audience gains so much information about the atmosphere and mood of the movie. The dark, ultramarine blue signifies a cold, unfeeling atmosphere. The lifeless gunshot body signifies the action, suspense and crime connected to the movie, as well as the fact that the protagonist is being hunted and in danger in this film. Already, after just a few seconds in our seats, we can grasp an idea of the genre, themes and style of the movie.

Music and sound effects playing behind opening sequences, also sets the mood and pace. In the film SKYFALL, the opening sequence plays over Adele’s Academy Award / Golden Globe / BRIT Award-winning theme song (non-diegetic sound). ( Skip from 0:30-1:00 mins) 

The soft, dreamlike melody both counteracts the abrasive, confronting subject matter as well as emphasizing the dark, ominous qualities of the water.

The opening sequence of THE BIRDS on the other hand, plays diegetic, mechanical, screeching of birds. ( Skip from 0:15-0:30 mins)

These, squawking noises almost sound like glass shattering, or tyres skidding, and already puts the audience on edge. This helps to set the tone and genre of the film.

They most vital effect that successful title sequences should achieve, is to leave the audience on the edge of their seats- engaged, excited and wanting to know more.

The difference between Open Credits and a Title Sequence

Opening Credits: a list of credits shown one after the other. Either shown by themselves, but can be an overlay even after the movie has started.

Title Sequence: a special scene that takes place before the actual scenes of the movie start.

A simple explanation on Wikipedia – ‘When opening credits are built into a separate sequence of their own, the correct term is title sequence.’- Such is the case in both movies James Bond- SKYFALL as well as THE BIRDS, by Hitchcock. 

Techniques Employed in Opening Sequences

Many Title Sequences often add in subtle hints of the plot line which foreshadow the movie. This is done in order to have a deja-vu effect on the audience as events unfold. In the movie THE BIRDS by Hitchcock, we see hundreds of feathered mammals darting across a white sky. Simultaneously, the credits are being ‘pecked apart’ or shattered by the birds. 

 This idea is then brought up in the following scenes where teacups are smashed

                                                    

 The image of tea cups smashing important symbol of civilisation being cut down. This menacing symbolism is emphasised in the abrasiveness of the birds, but also in the repetition of shattering in both the credits and the teacups.

Again we experience foreshadowing in the movie SKYFALL. The first shot we view is the low angle shot looking up at the protagonists sinking body. Usually the low angled shots are used to signify the power of the subject matter. However as the film continues, the camera pans downwards and changes to a high angled shot. 

This represents the protagonists loss of power/ status; his vulnerability; and lack of control. This idea is accurately portrayed in the opening of the movie, when Bond's latest assignment goes gravely wrong and agents around the world are exposed.

Another technique employed in many films, is 2D styled graphics in 3D environments. Some of these include: character animation, kaleidoscope card patterns. These techniques aren’t used in SKYFALL or THE BIRDS, but are used in earlier Hitchcock and Bond’s earlier films, such as Casino Royal (2006)    

  

    

This technique inspires the audience’s creativity and imaginative skills, as well as straying from the trend of abstract 3D graphic techniques to establish a diverse and eccentric quality.

Hitchcock used the technique of contrast in his film THE BIRDS. Originally, Hitchcock had planned, a slow, serene opening sequence to match the first half of breezy romance. A calm before the storm. However Hitchcock felt the original delicate Chinese paintings of birds that previously graced the credits, faced high chances of disengaging the audience. Therefore, ambiance of the scene was changed to a more menacing and tension building, which was what his marketing of the movie had promised. The sinister tone and foreshadowing of the birds in the opening sequence, contrast heavily to the light airy mood of the opening scene. This braces the audience with enigma and apprehension.

SKYFALL on the other hand, does not use the technique of contrast, instead, it sets the tone of the movie. Repeated symbols are iconic to many Bond opening sequences and are often expected by the audience. One symbol in particular, guns, are used with any connected innuendoes or metaphors, and are direct representations of danger themselves, thus flowing directly into the action of the movie.

Research- GILMORE GIRLS

TV Drama- Gilmore Girls (Season 1,Episode 15)

Plot Synopsis

Rory, the 16 year protagonist excites herself with the fact that her Dad is in town, for the first time since she was born. Nervous yet ambitious, Rory asks her mum, Lorelai, several questions and positive observations about the prospect of her Dad sticking around. Emily on the other hand warns Rory of the nature of Dad, telling her “He will come and go as He pleases’’. As Rory’s Dad enters the room, both Rory and the audience are drawn in by His light-hearted disposition. Rory, leaves the scene leaving her Mother and Father alone to talk. It is implicit yet obvious Rory is trying to play match maker, and reunite her family.  Christopher, Rory Dad try’s to win Lorelai’s trust by telling her that he has sorted his life out, yet Lorelai is slow to believe his sincerity. 

Christopher decides he wants the chance to get closer to his daughter. Rory walks in and asks Christopher if he will go to a softball game with her, she has obviously been eavesdropping in her parents’ previous conversation. As conversation continues to flow freely between ex partners Christopher and Lorelai we see them soften towards each other.

 At the softball match, Rory introduces Christopher to her boyfriend Dean. 

Lorelai enters a diner cafe kitchen where she works and discusses her relations with Christopher revealing that she doesn’t know how she feels about Him but then later admits she still fall for his smile. 

Rory introduces her father to relations and aquatints around town, many who admit to know a lot about Him already claiming that word spreads fast, in the small town of Stars Hollow. Two quirky men in a book store poke, prod and examine Christopher, embarrassing Rory.  Christopher insists on buying Rory a book, stating she needed something to remember His visit by. His card declines signifying his cash is limited, and awkward silence settles. Rory and her Dad bump into strangers gossiping about his apparent ‘wealth’ which increases the awkward tension. 

Christopher and Rory meet Lorelai in a cafe. Christopher picks up his phone and speaks to Lorelai’s mum who has planned a dinner with Christopher’s parents who coincidentally are also in town. Lorelai’s mum is clearly playing matchmaker between Rory's parents (ex-partners), calling the planned dinner a ‘wonderful reunion’.  

 At the reunion,hosted at Lorelai’s parents’ house, Rory’s parents, Lorelai and Christopher both complain about having to see their own parents, setting a terrible example for Rory. Rory admits she feels weird/nervous about meeting Christopher’s parents, (her grandparents) that she has never met. This is particularly obvious when she offers hem a very awkward curtsy. Christopher’s parents prove to be extremely stern, pious and posh, which is uneasy for Rory to adjust to, as she is used to her mums’ parents joking and at ease. Christopher’s parents pick out Lorelai’s faults such as not attending university, and blame her for ‘dragging Christopher along with her in her foolishness’.  Rory is dismissed from the adult conversation as conflict arises. The conflict accelerates and ends up physical between Rory’s two Grandparents.

Lorelai thanks her dad for defending her and aims to reconcile their relationship. This backfires and he voices his anger and frustration of her disgrace, still clearly disappointed in her. 

Lorelai’s mum confronts Rory who is alone and discouraged from the conflict, she tells Rory that despite all the disappointments, her existence has never been one of them. 

Rory’s parents joke on the conflict that occurred and share a moment of connection on the balcony, reminiscing about their previous history on that same balcony. They share a passionate kiss, then drive home with Rory who can tell something had happened between them.

 Rory blames herself for the night’s antics, claiming her grandparents don’t even want to know her, due to her mums' young a foolish pregnancy. Her mum tries to convince her otherwise, stating that it’s their loss, not wanting a relationship with her.

 Lorelai, jumps out of bed the next morning forgetting an important date, arriving to apologize in her PJ’s. To make matters worse, she comes home to her ex-husband, Christopher, spontaneously asking her to marry her, which gets her worked up even more. Lorelai tells Christopher he’s not responsible enough. 

Christopher admits he finds it hard seeing Rory, so Lorelai softens and tells him that Rory needs a Dad and that He should visit more often. 

Rory, always the matchmaker, makes her mum admit that she still loves Christopher, and is disappointed after finding out she had declined his marriage proposal. Lorelai just asks Rory to trust her.

Content Analysis

Serious social issues- 10%

                                       - Grandparents’ different social class/ status and who they each respectively treated the protagonist Rory

Everyday aspects of teenage life- 10%

                                       - Rory feels alone and discourage, laying blame on herself

                                       - Rory attends a sport game with her dad, as well as wanders through town

Teenage Relationships- 80%

                                       - The majority of this episode focuses on Rory’s family relationships

                                       - Rory plays matchmaker between her parents and bonds with both of them easily                       

                                       - Rory tries to win the respect of her Dad’s grandparents

 Relevance to My life

The age of the protagonist Rory is mentioned in the beginning of the episode (16), and that alone helps me to connect with her as a character. Knowing that she is the same age as me, and has had the same amount of life experience, helps me to understand her character better and sympathize with he as she faces challenges. For example, when conflict arises between Rory’s extended family at dinner, she is clearly affected by the tension and lack of peace between family members. This is something I can definitely relate to, being a, anti-conflict kind of person. Another parallel I have to Rory’s situation, is her strong, trusting, light-hearted relationship with her with her mum, and the blessing this relationship is to her. 

Rory has a broken, disconnected family which I cannot relate to. However, I recognize this disrupted family dynamic is a prevailing issue in the lives of many teens in my generation and this plot is definitely relateable to an exponential number of teens in this day and age.  

Rory’s exposure to gossiping acquaintances, and the problem of ‘word spreading fast’ is also another key issue which I am appreciative of not experiencing much of. Coming from a network of uplifting and supportive people, I have witnessed a minimal amount of this negative, or in Rory’s case, obsessive talk, that I understand much of society struggles with.

 Rory struggles in one particular scene with feeling upset and discontented. I can relate minimally, yet still definitely, to these emotions, which are at least, a small part of everyone’s lives to some extent. For example, receiving a bad test result, can leave me feeling discouraged, however the beauty of this is that I can then sympathize with others, in this case Rory, when she/ they feel the same.