Showing posts with label marcia. Show all posts
Showing posts with label marcia. Show all posts
25 April 2011
14 April 2011
Actor Consent
Actor / Contributor Consent form
With reference to the following production:
Produced by: Marcia precious
* In consideration of the sum of £…50……now paid to me (receipt of which is hereby acknowledged), I agree to the recording and copying and / or broadcasting of the performance / interview / contribution given by me to you on …04……./…02……./2011……. This agreement allows ‘unlimited’ future copying / broadcasting of the said material without any further payment.
* In consideration of the non-remuneration agreement between myself and Harrow College Media Productions I consent to the interview / contribution given by me to you on …04……./…02……./…2011……. giving over ‘unlimited’ rights to the above named production company. This agreement also allows ‘unlimited’ future copying / broadcasting of the said material without payment.
* Delete / fill in as applicable
This agreement enables the above named producer / production company to exploit the performance / interview / contribution, which I hereby give my consent, in any contemporary or future audio-visual media throughout the territories of the United Kingdom
Name (Please print): Naila nurudin Date: 04/02/2011
Address: 53 Maple Avenue
West Drayton
middlesex
ub7 8lt
Contact telephone number: 07986 441 324
Signature: N.P.H.nurudin
Permission Of Access
With reference to the following production:
In consideration of the request for audio / video recording as follows:
Location: st Johns wood
Date: 5th February 2011
Time: 10:00
Please tick / fill in as applicable:
ΓΌ Permission is given
¨ Permission cannot be given
¨ Permission is given subject to the following conditions:
Name (Please print): Julie Lang Date: 5th February 2011
Position: House owner
Address: 37 Dolfnew Avenue
st johns wood
Middlesex
Nw6 4zf
Contact telephone number: 079839944657
Signature: J.M.Lang
Risk Assessment
Production title: Voices
Location address: st johns wood/park
| Area of consideration / concern | Procedures / actions to be taken / regulations to comply with |
| Rain whilst shooting outside | Wait till the rain clears up before taking camera equipment outside. If rain does not clear up book to shoot for another day. |
| Moving Camera equipment from different locations. | Make sure all equipment is wrapped up safe before moving. Spread the equipment carrying evenly between each team members. |
| Long hours of filming | Make sure we take breaks in between shooting. |
| Camera cables | Be very careful of all the wires tangled on the floor. As someone could trip and injure themselves whilst damaging equipment. |
| Infant children on set | Make sure they do not touch any camera equipment. Make sure all crying is not caught on film. |
Minutes From Meeting
Production:
Production team: Group 4
Date: 4TH February 2011
Those present: Irfaat, Marcia, Courtney and Detjona
Apologies for absence: None
Matters discussed:
2) Props and location: how to get to the location from where we live. How are we going to travel from one location to the other? Who is carrying what? Find fake blood or a substitute. How long can we use the location for?
Action taken / to be taken (and by whom):
1) Replacement actor found, called all actors made sure they knew what was happening, what time they had to be there and what they had to do.
8 April 2011
6 April 2011
4 February 2011
2 February 2011
Technical Skills Development, Sound
A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in New York City in April 1923. Sound plays a vital role in film and helps shape the way the viewer reacts and watches a motion picture. Sound influences and enhances what we see on the screen.
Use of Sound
Direct sound. Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.
Studio sound. Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound.
Selective sound. The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic.
Sound perspective/aural perspective. The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants.
Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.
Dubbed dialogue. Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing.
Wildtrack (asynchronous sound). Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later.
Parallel (synchronous) sound. Sound 'caused' by some event on screen, and which matches the action.
Commentary/voice-over narration. Commentary spoken off-screen over the shots shown. The voice-over can be used to:
· introduce particular parts of a programme;
· to add extra information not evident from the picture;
· to interpret the images for the audience from a particular point of view;
· to link parts of a sequence or programme together.
The commentary confers authority on a particular interpretation, particularly if the tone is moderate, assured and reasoned. In dramatic films, it may be the voice of one of the characters, unheard by the others.
Sound effects (SFX). Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.
Music. Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western).
Silence. The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.
The sound that we are using in our thriller is just dialogue from the actors, a voiceover at the end of the scene and the thriller soundtrack at the beginning and the end.
Research, Funding and Distrubution
Funding and Distribution
Film finance is an aspect of film production that occurs before pre-production, and is concerned with determining the potential value of a proposed film. Film finance is a subset of project finance, meaning the film project's generated cash flows are used to repay investors, and generally not from external sources. This however has been met with new ways to protect principal, and insure against loss of investor's assets.
Government grants
A number of governments run programs to subsidize the cost of producing films. For instance, in the United Kingdom the UK Film Council provides funding to producers provided certain conditions are met. Governments are willing to provide these subsidies as they hope it will attract creative individuals to their territory and stimulate employment. Also, a film shot in a particular location can have the benefit of advertising that location to an international audience. Government subsidies are often pure grants, where the government expects no financial return.Tax schemes
A number of countries have introduced legislation that has the effect of generating enhanced tax deductions for producers or owners of films. Schemes are created which effectively sell the enhanced tax deductions to wealthy individuals with large tax liabilities. The individuals pay the producer a fee in order to obtain the tax deductions. The individual will often become the legal owner of the film or certain rights relating to the film, but the producer will in substance continue as the real owner of the economic rights to exploit the film. Governments are beginning to recognize that enhanced tax deductions are an inefficient way of supporting the film industry.Elements
- Story rights: The right to produce a film based on a play, novel, video game or as a remake or sequel can cost anything from a couple of thousand to over £10 million. An original screenplay by a
- Screenplay: An A-list screenwriter can be paid £1 million to write the first three drafts of a script, with a further £1 to £12 million sole credit bonus. Once the story has been agreed upon and the script locked. Typically the development of a script consumes 5 percent of a film's budget.
- Producers: Film producers and executive producers are often well-paid, with a top producer earning a seven-figure salary upfront as well as bonuses and a share of the profits.
- Director: The DGA minimum is about £14,000 a week, for a minimum of ten weeks' work. An A-list director can command £5 to £10 million a film.
- Cast: An A-list actor can ask for anything from £10 million to £30 million, plus £3 million in perks (trailer, entourage, etc.) and 10-20 percent of the gross profits. Sometimes an actor will accept a minimal fee in exchange for a more lucrative share of the profits. Union extras are paid around £130 per day (plus extra for overtime or if they provide their own wardrobe) but on a low-budget film non-union extras are paid less, sometimes nothing at all.
- Production costs: The cost of actually shooting the film including sets, wardrobe, location filming, hotels and transportation. Shooting costs could easily amount to £500,000 a day for 100 days.
- Visual effects: Employing a hundred employees of Industrial Light and Magic for over a year can turn a big-budget film into a mega-budget film. Computer-generated imagery (CGI) work in post-production can be expensive.
- Music: The top film composers can ask for a seven-figure salary to compose an hour or so of original music. (In addition, the artist may wish to see a screening of the film to see if it meets their approval.). Sometimes a film will turn to unknown or little-known artists willing to sell the rights to their song for a small fee in exchange for the publicity. Typically, the music budget of a major motion picture is about 8 percent of the final total.
Film distribution
The distribution of a film is the process through which a movie is made available to watch for an audience. This task may be accomplished in a variety of ways; for example, with a theatrical release, a home entertainment release (in which the movie is made available on DVD-video or Blu-Ray disc) or a TV broadcast.
Standard release
The standard release routine for a movie is regulated by a business model called "release windows". The release windows system was first conceived in the early '80s, on the brink of the home entertainment market, as a strategy to keep different instances of a movie from competing with each other, allowing the movie to take advantage of different markets (cinema, home video, TV, etc.) at different times.
In the standard drill, a movie is first released through movie theaters (theatrical window), then, after approximately 16 and a half week, it is released to DVD (entering its video window).
Simultaneous release
A simultaneous release takes place when a movie is made available on many media (cinema, DVD, internet...) at the same time or with very little difference in timing.
Simultaneous releases bear great advantages to both consumers, who can chose the medium that most suits their needs, and production studios that only have to run marketing campaign for all releases.
Our Thriller
Our thriller is a british film therefore its independent and the funding we get to produce the film comes from the government and some of the money we have saved up.
5 January 2011
Proposal
Thriller Proposal
Brief
Our target audience was 15-35 year olds therefore we were asked to create a 2 minute opening sequence to our own thriller movie for this age range.
Research findings
In our research we found out that the key to a good thriller is the use of music and sound effects. Most people said that music is what makes the ‘’thrill’’ in the thriller as it creeps in unexpectedly and induldges the audience. Low key lighting is essential as it doesn’t reveal too much as to what is happening and leaves an element of surprise. The genre we have decided on is a horror thriller as we can come up with more advanced and in depth scripts based on our experiances watching horror movies. We also think that they appeal more to our age range and target audience 15- 35 year olds as they will be allowed to view some aspects of violence. For our subject we concentrated on the element of suspicion as we wanted to make our child actress as spooky and twisted as possible. Costume is important as it reveals a lot such as if the girl is wealthy, what era they are living in and the characteristic of the kid. Although we would like out thriller to be a big Hollywood box office film due to our production being set in a British location with unknown British actors we feel that it would be a British independent film.
Initial Ideas
Irfaat
In my idea the overall plot would involve Jack,12 year old boy who is guilt stricken after his younger sister recently passed away. His mother is neglecting him as she assumes it is his fault. Jack claims to see her but no one believes him. Mary (the dead sister) keeps pestering jack to do bad things like their mum or she will be forced to kill him. If he succeeds then he will be rewarded with something in a mysterious box. He tries to tell his mother but she won’t listen so he is left with a terrible decision.
For the opening sequence, we fade up an extreme close-up of bright blue eyes which slowly fade to bright red. The camera tracks backwards revealing an empty house with a boy sitting in a corner covered in blood, a dead woman's body lying lifeless in front of him. The camera pans down to a photo of a little girl on the floor nearby. It then cuts to a flash back of a close up of the little girl’s feet standing on the ledge. Voice over of little boys voice saying '' jump Mary , go on you won’t fall and hurt yourself go on , if you do I'll show you what's in my box , just jump'' while camera pans up revealing girl looking worried fade to blackness voice over of screams then zooms into the moon which then graphic matches to mother's eye. Cut to close up of hands laying down a flower on a gravestone pan up to the name on the gravestone. Cut to medium shot of mum hunched on the floor crying and the ghost of the little girl holding mums shoulder. Cut to little boy standing at the train station with mother. Little girl’s stands on the other platform while people walking past. Boy says to mother '' mom i can see Mary, mom she's pm the other platform'' mother says to boy '' don't be stupid Mary's dead'' medium close up of Mary waving. Train goes past and Mary disappears. Over the shoulder shot of jack in the bathroom looking in the mirror suddenly Mary appears '' you have to do it, look in the box you will find it, go and kill mom'' Mary says '' i can’t, Mary tell me what's going on tell me why you’re doing this'' jack says jack turns around ( eye line match and shot reverse shot while dialogue is going on also following the 180 degree rule.) Mary is gone. extreme close up of box hands opening box camera pans up revealing the boys worried face then cuts backs to the box slowly opening suddenly the door is opened. The camera quick cuts from door to box being suddenly closed. cut to the word jack engraved on the tree.
Courtney
Overall in the film, the main characters are a mother, father and two children, a girl aged 8 and a boy aged 11. They are on a camping trip in a quaint little forest. It is autumn time and the forest is covered in leaves and becoming more dark and cold each day. They plan to stay there for a long weekend and participate in traditional things like toasting marshmallows on a campfire and going for long walks. After their happy first night they awake in the morning to find their car drowned in the middle of the lake as if somebody has pushed it into there. They think it is another group of young campers trying to pull a prank on them. As they try to use their phones to call out to friends and family they soon find that they have no signal and the only way to get out of the forest is by foot. The camera keeps flashing back and forth from the families dilemma to someone spying on the family from behind the tree’s and they are breathing in a un-humanly way. As night dawns they have to set up their tent as the children are getting tired. The little girl is spooked by shadows she can see through the tent and the noise of tree’s swishing in the wind. They wake up the next morning to find the girl missing. As they run around the area looking for her the mother comes across her body on the cold damp floor. She is lying face down. The mother runs to her and screams for the little girl to respond as she turns her body around, a half bitten face is revealed. Dripping with blood you wouldn’t even be able to identify that it is the same girl as half her face is missing. Suddenly it dawns on the family that there is something big and evil lurking around the forest.
The opening two minutes of the film will feature a mum and son standing on a quiet motorway with a forest far in the distance. The mum has blood on her face and ripped clothes and the boy looks scrubby and dirty and is grasping onto his mum. They are trying to thumb a lift from passing cars. The camera zooms into their faces and then they become blurred as the forest comes into focus. As the camera zooms right up into the forest a loud pitched scream is heard and the screen goes black. Then we see a family un-loading stuff from the car. Laughter can be heard as there is a MCU of two children rolling down a hill.
Detjona
What I had in mind to do was basically have one character and she would be an alcoholic at 23 who was going through a phase in her life where she would be really alone. What happen are her subconscious acts on her and it’s this little girl from her childhood who speaks to her. Thinking the younger girl actually exists the older girl starts to listen to her as she feels they are friends.
the first thing we see is a close up of the older girls eye it has to be red and look quite tired to show she is drunk so the audience gets an idea of her alcohol problems. Then we cut to her looking in the mirror and saying 'what do I do?' to herself and the younger girl emerges from the dark behind her saying 'you know what you have to do'. This cuts to a clip of her childhood and the older girl if the young girl now and she are being molested by her step-dad which has now led her to be the person she is. We then cut again to her being in an AA meeting at the age of 23 and she doesn’t really want to be there but she’s been sent there by her mum. So we get a close up of her face introducing herself to the group. We then cut again to a side view of her face and her in a car driving and drinking and the little girl next to her. The young girl keeps saying 'you can do it' making her voice gets faster and louder as the car accelerates. Then the older girl starts to cry and says 'I can’t' as we see flashbacks of her childhood. The scene then finishes with a long shot of the car driving off. Titles roll with crew names.
Marcia
My initial idea involves an overall film plot featuring a 12 year old boy who’s an orphan. He lost his parents when he was 2 so he didn’t have any parental love. He was looked after by his grandparents until he was 5. His grandparents sensed that there was something wrong with him so they put him into a care home. He would always lash out at strangers and get into fights with people a lot older than him. He was quite secluded and kept himself to himself. One day, a woman arrives at the care home to start her new job and he finds out that she used to be in the same care home as Jack until her mother died and she became a bit crazy and demented and had to be put into a mental institute. The boy whose name is Jack becomes really attached to the woman named Jeni. She reveals to him that she had a son but he died stillborn. They both stick to each other and enjoy each other’s company. The only downside is that Jeni still hasn’t gotten rid of the crazy part of her mind and she does everything to keep little Jack safe. Jack on the other hand, doesn’t take too kindly to her wanting to keep him safe and decides to take action.
My idea for the opening sequence is to have Jack staring out of a window in the living room. Behind him the curtains are closed, isolating him. He then steps back slightly, moving the curtain to stare down at the floor. Lying there is a body. Who’s the body on the floor?
There is then a flashback of Jeni and Jack talking about their personal experience with the loss of their parents; Jeni with her mum and Jack with both his mum and dad. Jeni and Jack are outside in the garden on the swings talking when suddenly Jeni seems visibly shaken, telling Jack that she lost her son and wants to care for Jack like her own. Jack doesn’t like this and screams at her telling her that he already has a mum and doesn’t need another one. Jeni tells him that his mum passed away but he refuses to believe it. He then rushes inside.
Back in real time, we now see Jack stroking long, bloody hair and speaking in a hushed tone, “Yes, mother you were right. I will love you forever.”
He then has a flashback. This time he’s in a classroom and everyone’s drawing pictures of their family but Jack isn’t. He’s drawing a picture of a black house and his mum and dad covered in blood, with coffins all in darkness. His teacher see’s the picture, tries to snatch it off him but he refuses. She then sends him to the head teacher.
Jack then comes out of the flashback and you see a tear streaming down his cheek. He turns towards the body and hugs it saying, “Here you go mummy. You won’t throw my picture away. You’ll cherish it forever just like you cherish me.” He takes out the picture from his pocket and places in the body’s hand, kissing it while he does that.
After that he goes into a third flashback of him being surrounded by children in a birthday party being asked to do a dare after losing a competition. The dare was to see who could pull their own tooth out and because he lost he had to do that dare. He eventually pulls it out to the disgust of the children. The parents after seeing him do this send him home embarrassing him in front of the children. He sees a drip of blood fall from his lip and catches it with his tongue. He starts to laugh and you see a glimmer of evil in his eyes. It’s from that moment that the audience realise that he’s different from other young boys.
Jack comes out of the flashback again and pulls out a tooth from his pocket. He then places it in the body’s mouth saying, “Mommy, I think you’re missing a tooth.” He starts to get angry because the tooth isn’t going in. He starts stabbing the tooth into the body’s gums, screaming and laughing while he’s doing it.
Professional Job Roles
Types of producers
Producer
Responsibilities
Producers have overall control of a film’s production, bringing together the screenwriters, director, cast, finances and production team. Their primary responsibility is to foster an environment in which the creative talents of the cast and crew can flourish- Producers are therefore ultimately accountable for the success of the finished film. The producer’s responsibilities span all four phases of production.
Research and Development- Producers are often responsible for coming up with the underlying premise of a production, or for selecting the screenplay. Producers secure the necessary rights, select the screenwriter and story editing team, and raise the development financing, and supervise the development process.
Pre-production- Producers typically bring together the key members of the creative team, including the Director, cinematographer and principal cast. They assist the executive producers to raise finance for the production. Once this is in place, they select other key personnel, such as the Line Producer, associate producer and production manager, as well as the remaining heads of departments, such as production designer, editor and composer. Producers also participate in location scouting, and approve the final shooting script, production schedule and budget.
Production- Producers are responsible for the day to day operations of the producing team, though many practical functions are delegated to the line producer and any associate producers. Producers are also in constant communication with the Director and with other key creative personnel, on/off set.
Skills
They must be good businesswomen/men with the ability to spot and deal with potential problems before they materialize and the drive to do whatever it takes to get the film made. The Producer's primary role is to oversee and deliver a film project to all relevant parties while preserving the integrity, voice and vision of the film. A film producer or movie producer begins by attaining the rights to, creating or co-creating a feature-length screenplay, thus initiating the role of producer in the process of narrative feature film making. The producer oversees the process, which includes coordinating, supervising and controlling major aspects of the project. These areas include fundraising, hiring key above-the-line roles (such as the casting director, film director), influencing the hiring of some of the below-the-line personnel (such as the UPM or line producer, accountant, etc.) and arranging for distribution. From inception through development to the completion and delivery of a film project, the producer is often actively involved throughout all major phases of the filmmaking process.
Similiar Textual Analysis
The Sixth Sense Opening Sequence
The beginning of the film starts with the opening credits over a black screen. There is eerie music playing in the background, sharp, high pitched violin strokes. This connotes that this is a spooky film and that it is scary. The font colour is blue giving a sense of coldness as the words fade in and out, adding to the sense of creepiness. As the credits end, the background illuminates as a light bulb slowly brightens to reveal a basement like setting, connoting that something sinister will happen in this scene. The camera then cuts to a figure walking down the stairs, still in darkness. The fact that this particular scene is set in darkness connotes that there’s a spooky atmosphere which adds to the disturbing ambience. The camera is then placed behind the wine cabinet to show a woman taking a wine bottle. Cutting back to a long shot, she shivers, looking around again adding to the creepy feeling. You can tell that it’s a fancy occasion because of what she’s wearing. She’s wearing a purple dress and has her hair up in a bun. She then runs back up the stairs leaving the audience alone, making the viewer feel scared, in the basement before cutting to a shot of thank you cards on the shelf.
You can then hear diagetic sound of the door creaking before the camera slowly tilts up to reveal the main character who is Bruce Willis who is carrying a bottle of beer which connotes that they’re celebrating something important because he is also dressed to impress. The camera then pans to show a two shot of both him and his wife who is throwing a jumper to him and they then both exchange some dialogue. She starts by saying, “It’s getting chilly in here”, before he then says, “That is some fine frame”, before sitting himself down onto the sofa. She then sits down beside him which shows that she is loyal to her husband and would do anything for him. The camera then cuts to show the frame that Bruce Willis was talking about. The frame is brown with a sort of certificate inside. The frame is sitting in an armchair which shows that it means a lot and that it’s quite superior and really important towards his career. His wife then starts to read the words off his award plaque which shows that she’s devoted to him as a traditional housewife. After she’s finished reading his plaque, they share an intimate moment before heading upstairs to their bedroom. This shows that they have a happy and loving relationship.
As they get in the bedroom, which is quite fancy seeing as they are from an upper class because of the plaque and all the wine in the cellar, they start to undress while playing which shows that they are still playful and children at heart. Bruce and his wife then stop to look at shattered glass all over the floor and the broken window which connotes that there was a forced entry and that somebody is still in their house. They both look at each other shocked and in horror because someone has entered their house. His wife then signals for him to come over to her side saying “Look, look”. The camera then cuts down so the audience can see the shattered glass and broken phone. The camera then tilts up to the window with only the sound of the phones beeping in the background. There is only diagetic sound throughout the film to increase tension and build suspense. A shadow then appears out of the blue into the bathroom and his wife then screams because she’s scared. The fact that it’s dark also makes it more terrifying because she could be intimidated by the dark and seeks help from her husband. As soon as he hears the scream from his wife, Bruce Willis turns around and goes to investigate the creepy shadow. This connotes that he’s very protecting of his wife and he wouldn’t let anything or anyone hurt her. He also feels that it’s his job as man of the house to look after her and protect her from any harm. As he steps towards his bathroom, he’s in close up and the music is now quite creepy and frightening in the background, the quickly cuts to the bathroom door to increase suspension and tension in the audience. The camera starts moving towards the bathroom door as if the audience were looking through Bruce Willis’s eyes.
As the camera gets nearer and nearer, the music increases slightly which makes the audience feel agitated and jumpy. The camera then does a shot reverse shot between the bathroom and Bruce Willis. As the camera then goes back to the bathroom door, it gets nearer until it turns the corner and you can see clothes on the floor and a man standing in just his underwear. This connotes that he’s probably got mental issues and wants something from Bruce Willis. Bruce Willis then says to his wife, “Hannah, don’t move. Don’t make a sound” before the camera goes into a mid close up of the man who’s standing in the bathroom. With Bruce Willis and the man still both in close up, they both exchange some dialogue and Bruce Willis is now trembling instead of acting sturdy. The man then makes his way out of the bathroom and into the bedroom with Bruce Willis’s wife taking in a breath as she sees this semi-naked man emerge from her bathroom. The man is now crying and the three of them engage in dialogue with the music playing in the background.
The music is orchestral music, mainly piano and strings. The music is getting stronger with every sentence exchanged and the camera is doing a shot reverse shot of Bruce Willis and the man who are both in close up. The music has now stopped and Bruce Willis is left talking while the man who is not fully in the bedroom is crying. This shows a contrast between the two men. Bruce Willis is the more fatherly figure trying to stop this young man from breaking into floods of tears and the man who is more child-like and is in need of help. The man then goes back into the bathroom with an angry look set about his face and pulls out a gun which he uses to shoot Bruce Willis before turning the gun on himself which the audience doesn’t see. The scene then ends with Bruce Willis lying in his bed, with his wife crying beside him. This connotes that even though he’s helpless she will always be there for him as a devoted wife should be.
I found this sequence quite suspenseful and intimidating due to the intense diagetic sound used throughout and the dark lighting used in the basement and bedroom. There is a contrast between the settings used as it goes from dark – light- dark. The only light used in the bedroom is the lighting from the bathroom and the only lighting in the basement is from the bulb.
Marcia Preciosa
Subscribe to:
Comments (Atom)
