Nerve (2016)

I recently watched 'Nerve' directed by Ariel Schulman and I really liked the way it was edited, especially in terms of the scenes where Vee was on the computer.

It was edited so that the computer screen filled up the whole page and the camera would move around the screen. It also followed the mouse so we could see exactly what Vee could see which made the audience a part of the film.

It also had realistic elements to it such as when Vee and Sydney facetimed it glitched which is what usually happens when people FaceTime.

   

127 hours

In class we watched 127 hours, directed by Danny Boyle, and overall it was a great film with so many unique techniques.

While watching the title sequence, the name A.R. Rahman struck out to me. He is an Indian singer-songwriter, composer and producer and I have heard many of his songs before.

The music in this film was one of my favourite aspects as it made the scenes more enticing. For instance, the scene where Aron had to amputate his arm, the song 'Liberation' was used. Just the title itself relates to the scene as Aron is cutting free from the rock that glued him to the spot, he is being liberated. The music builds up and at the part where he reaches his nerve a sharp 'buzzy twang' noise is added to relay the pain he is in towards the audience. In my opinion, the music and sound effects made this scene what it is. I could easily watch this scene if it was mute, but the sound effect of the buzz made me on edge, I was forced to look away. This is why I believe A.R. Rahman did a excellent job at using music to engage the audience.

End Credits (Pink)

Recently I watched the film 'Pink' (2016)  and the film was about three girls who are trying to prove a group of men guilty for potential rape. The whole film is based around the court case and each of the characters try and prove their innocence by recalling what happened that night, however, that night is never shown throughout the film. At the end, alongside the credits, that night is finally shown to the audience. The part leading up to the potential rape is an actual clip, but the part of the girl resisting and escaping is done in camera shots, not a film clip. It is kind of like motion picture.

This is a powerful technique as I remember feeling relieved as the whole film is about that event and after 136 minutes of viewing I had finally seen what actually happened that night. The impact this had on me is one I would want our audience to feel while watching and after our film. Inspired by this film, I would want our end of credits to be just like this. Our film is about Yasmin's disappearance which could potentially be kidnapping, and at the end, during our credits, we could show the 10th December 2015, the night she disappeared. It would be the three of us in the park, starting at the exact point our opening sequence starts at, when Morgan says "Bye Yasmin". Then it will follow to Yasmin walking home and what happened.

Seven (1995)

Seven (1995)

Director- David Fincher

I really like this title sequence and it may be one of my favourites as the non diegetic music is is not overpowering yet creates suspense, the audience questions what is happening and why this type of music is playing. The music builds up after the first minute to create an intense atmosphere.

The titles come up in a font which almost looks like it has been scratched on. Plus, the editing used makes it jolt on and off the screen which also adds suspense and tension to the opening title sequence.

The props used suggests that the story line is linked to crime as the person is doing things which are unusual.

British Film Institute

On Friday 11th November we went to the British Film Institute (BFI) as a class for the day. In the morning Tom Woodcock spoke to us about conventions of film openings.

Firstly, he spoke about Macro elements of a film opening and how important they are in the opening title sequence. Macro elements include Genre, Narrative, Character, Themes and Atmosphere. We watched three opening sequences; The Wedding Singer (1998), Napoleon Dynamite (2004) and Casino Royale (2006) and we had to fill out in our booklet how much the opening sequence provided for Marco elements. This was an good task as it made us think about what Macro elements are in our own opening sequences.

Then he spoke about Micro elements such as colour, lighting, font, costume, props, setting and sound design. For this, we saw four different opening titles and evaluated what was consistent in them. Consistency helps the audience understand what is happening. 

Afterwards we had lunch and when we came back we saw Dexter Fletcher, an actor and director. He spoke about his three films he had directed and what he did for their opening sequences. His style is to integrate the titles into the film as he believes that the film should completely be about the film, rather than having a stand alone title sequence. His three films were Wild Bill, Sunshine on Leith and Eddie the Eagle. I enjoyed listening to his opinions as I saw what title sequences meant from a directors point of view, rather than a students. 

Todays trip made me think about our groups opening sequence and possible changes we might make.

Dexter Fletcher

"Blood on the Beach" Jaws

Sound techniques used in this clip

In the beginning of this clip, there are ambient sounds of the waves crashing into the sand, in addition to groups of people talking and laughing in the background. This gives the setting of a normal, fun day at the beach. There are people everywhere and this is shown using pans.

The camera then follows the boy and leaves him when it reaches Martin Brody. He is looking out to sea and in the meantime you can hear people talking. There are still no non-diegetic sounds, every sound is natural which makes the audience feel as if they are there at the beach.

A man comes to talk to Martin Brody but the camera shots make sure that the audience don’t focus on what he says. This is an interesting technique as most people would decide to muff out what he is saying and make it not understandable, but here we can clearly hear what he is saying but out attention is taken away by Martin peeking over the man’s shoulder looking at the couple yelling and playing in the water.

Then we see a man floating on his back in the water alone. Martin Brody is looking out to see, so the audience know something is going to happen. The vulnerability of the man being alone suggests he will be the one in danger. However, this is not the case. When the shark is approaching the child in the water, we get a point of view shot from the shark’s perspective, and the first non-diegetic sound is introduced; the classic Jaws music. This suggests something bad is about to happen as the music sets the tone and atmosphere of the rest of the scene. The music then stops, and you can hear splashing of the water followed by children’s screams as they rush to get out of the water. This brings the audience back to reality and they feel like they are yet again at the beach witnessing what just happened. Then you hear sounds from underwater of the boy being dragged down and the Jaws music starts again. The rest of the clip is dramatic music which is parallel to the situation, along with the hysterics of the public.

The ending is just the boys raft ashore with the waves pulling it back and forth. This is a calming sound which is contrapuntal as the water is slightly red from his blood.

'Remember Me' Storyboard

My first attempt of creating a Storyboard for the opening sequence of the BBC's 'Remember Me' (up until 2:44 in the attached clip). It includes what shots were used, when sound is introduced and what effect it has. This activity showed me how a storyboard is used and why. A director needs to know exactly what needs to be filmed and for how long and a storyboard provides all this information. They make sure that filming is time and cost effective.