Preliminary Task With Nick: An Evaluation

I jumped at the opportunity of producing another preliminary task, this time with Nicholas Ashurst, as work on my first effort with Avraj and Ryan was a success. However this time I hoped to broaden my horizons and explore various different cinematic techniques that were not possible with the time constraints of the first one. On the whole, this second preliminary task was indeed a resounding success and I very much enjoyed filming, editing and watching it.

Similarly to the first project, it was in our's and the audience's best interests that we only use the brief as a guideline to the making of the preliminary task. Of course we had to stick to some of what it asked us to include: for instance, the opening of a door using match-on-action and examples of shot-reverse-shot and obeying the 180-degree-rule; but for the most part the preliminary task with Nicholas was a beast of its own.

We went with a simple premise - a secret agent infiltrating a heavily guarded house in order to locate a high value target - this premise allowing us to explore the aforementioned techniques, but more importantly so we could include a number of action packed fight scenes in preparation for our final opening. We arrived on the day of shooting with only this basic outline of a plot and thus we went about crafting an eight minute action packed short film on the go, using only three or four possible actors on screen at one time. We then came up with the ingenious idea of donning each of the actors playing the bad guys with balaclavas, therefore making the need for any more actors irrelevant.

Akin to the previous task, we suffered the reality that cast members had to come and go, therefore we arranged the sequences appropriately. Fights were given to available actors and we experimented with a variety of different types of fight sequences in order to give them their own unique feels, which meant each would have its own distinct challenges. The primary method of shooting the fight sequences, which comprise almost the entire eight minute running time was to simply shoot, shoot, shoot...and shoot again. We choreographed the fights in stages, then shot each section from multiple angles, so we cut together the shots to make the impacts look authentic as well as provide a rapid pace to the proceedings. I was the main camera man for the majority of the film due to my lack of skill and laziness in the fighting business and I experimented with various shot types in order to capture a cinematic visual aesthetic. 

Over the course of the day shooting the preliminary task we decided to discard the serious atmosphere to the film and adapt a more ironic, comedy style approach to the films. Thus the fights become increasingly comic as balaclava, fez and monkey-onesie wearing henchmen come into play, making for some of the more interesting sequences of the picture. By the end of the filming - which was done in chronological order due to our lack of preparation - we were all tired and ready to go home, somewhat worrying myself and my fellow director over whether we had captured enough footage (despite their being over an hour's worth). Once I had arrived at the editing process, however, I discovered we had plenty of clips available to form an epic eight-minute preliminary task the world had never seen before.

But it was then that creative differences struck a momentary division between myself and Nicholas. Disagreements over the way the film was to be edited meant that we each approached the post-production of the preliminary task separately resulting in two alternative edits of the film. Both myself and Nicholas have differing styles and approaches to this, so it was interesting to see the creative and technical disparities between our final cuts (discussions led to each other adopting some similar editing techniques such as the use of the same musical score during the kitchen fight). However by the release of each of them, we had rekindled our professional relationship and are ready to embark on our final opening piece, hopefully with all the skills and knowledge we have gained from producing this preliminary task.

Preliminary Task With Nick

 

Teaser Trailer

Preliminary Task With Avraj & Ryan: An Evaluation

For the first of the two preliminary tasks I was involved with, we decided to go for a more cinematic approach than the brief alluded to. While retaining the requirements, such as the door opening shots that are featured in the opening scene, an element of shot-reverse-shot, and match-on-action featuring heavily throughout, we expanded on this concept, crafting a storyline in which a professional hitman takes out a thief via sniper rifle.

With this storyline, we had plenty of opportunities for interesting and exciting camera shots, which we pieced together in post-production to create a fast-paced sequence of action. Some effects were added in editing, such as lens flare as Avraj traverses the stairs, and colour-graded the bathroom sequence into high-contrast black and white to create a noir-look, a la Casino Royale. Music and sound effects are something that we found was successful, as it provided the intensity and drama that aided the sequence.

Something we can have certainly improved upon is the dialogue, which was improvised, resulting in slightly wooden performances, from myself in particular. There are also some shots that seem out of place, for example the shot of the birds upon the telephone wire, which we intended to expand upon, but never did.

Preliminary Task With Avraj & Ryan

Crime Opening Analysis: "The Godfather"

The very first shot of The Godfather, following the opening titles, is an extended shot of a speaking character, in a heavily darkened room, that zooms back out to reveal whom it is he is pleading to. For the first few minutes of the film we are oblivious to the appearance of this character of authority, who much like the audience, is listening intently to the story the other character is telling. The speech that makes up much of this sequence gives a strong hint to the nature of these characters and their situations - he talks of his daughter's sexual rape and abuse, before pleading the titular character to deal with those responsible, as he descends into tears. The first part of the scene is supposed to be extremely powerful, and it works, as the audience takes in everything he has to say, whilst also wondering who else is present in the room.

Eventually the shot is wide enough to reveal the other man, the titular character portrayed by Marlon Brando , who only the shadowed right side of his face is visible. We hear his first words in the film, before cutting to a close up shot that shows his entire face, and his response to the request. A shot from further away in the room reveals two other men, who presence was not suggested previously. The lack of frequency of shots makes the opening extremely effective as we focus strictly on the character on screen, digesting each and every emotion in their face and the way they communicate. The non-presence of music is also powerful as it would otherwise be distracting from the characters' voices. Overall, this is a very powerful opening, even for a crime film, as it establishes the many themes present in gangster films such as the heirachy of power in the criminal environment.

Crime Opening Analysis: "The Departed"

Using almost identical white lettering on black to Scorsese's earlier GoodFellas, "Boston...Some years ago", we can expect the same elements of the crime genre that the director is so known for in The Departed. We cut to historical footage, narrated over by Jack Nicholson's character, with a Rolling Stones track, establishing the time period of the seventies, culminating with a powerful line "No-one gives it to you...you have to take it.". We then we follow his character on one of his regular money collections from a local business, where he displays his authority by intimidating the owner and openly flirting with his daughter.

The song continues throughout the scene, suggesting a rock and roll lifestyle, that the young boy at the bar seems to idolize. Frank Costello is also bathed in shadow throughout most of the sequence, perhaps to indicate the dark, mysteriousness of his life, and to also hide the fact that Nicholson is considerably older than the age of the character he is portraying here. The scene ends with an invitation for the young boy to work for him, and inevitably join his life of crime. This opening is effective because, as well as introducing two of the central characters of the film, it is again in line with many conventions of the crime genre.

Crime Opening Analysis: "Goodfellas"

Martin Scorsese's "GoodFellas" is a film that conforms to many of the conventions of the crime genre. This is what has made the film so popular and accessible to audiences. Opening with bold white text on a black background, we can tell that this is a film that takes itself seriously - "This film is based on a true story", a statement that will give the audience more reason to care about the characters and their situation. We are instantly shown the red brake lights of a vintage car - indicating that this is a period piece - in total darkness, speeding down a road. "New York, 1970" a title card tells us, as we cut to an interior shot of the car, with the driver focused heavily in the foreground, and two other passengers, who all seem curious about something that causes them to stop the car and inspect their trunk.

The red of the brake lights illuminate the three men as they investigate the noise, the camera slowly panning towards the trunk to convey anxiety, as one of the men whips out a blade. What follows is a brutal stabbing, and eventual shooting, of the victim in the trunk, the edits being slow-paced in order to show the audience the full viciousness of this act. As the central character (Ray Liotta) approaches to shut the trunk, his narration kicks in. "As far back as I can remember I always wanted to be a gangster". Upbeat jazz music accompanies the freeze frame of the main protagonist  in startling contrast to the events that have just transpired. From this line, and the cut to the blood-run lettering of the title, we the audience can tell that this film is his story. All of these elements, especially the scenario, are consistent with 'gangster flicks' and this opening is especially effective as it throws you straight into the heat of it all, with the intention of making the audience wonder what led to these events that are shown in the brief but evocative prelude to the main film.

Conventions Of The Crime Genre

October crime remake Pusher

The crime genre is one in which cliches thrive. These distinct conventions differentiate crime films from regular action or drama. These films are typically presented from either the perspective of the law or the mob. The protagonist is either an immigrant to the city, the new kid on the block, who we follow as he rises through the ranks (Scarface) , or a detective working undercover (Donnie Brasco), or in full view (The Untouchables), against a leading gangster in the business.

Characters that appear regularly in crime films are the mob boss, to whom family and loyalty are extremely important, who is either calm and collected (The Godfather) or just plain mad. Blundering bank-robbers (Killing Them Softly) tend to feature, while the hardcore psychopath who takes himself seriously tends to curse alot and takes sadistic pleasure in torturing their enemies (Reservoir Dogs).

Film Noir (L.A. Confidential) is a classic sub-genre of crime. Typically set in early 20th century Los Angeles or New York, noir explores the stylistic and alluring side to the dark underbelly of the gangster world. Heist films (Ocean's Eleven) are a very popular example of crime, however in this case the protagonists are typically much more likable than those found in the classic films that revolve around the mob, and they tend to stay away from extreme sex and violence.

Romance Opening Analysis: "When Harry Met Sally"

After opening with a brief prelude, a small anecdote provided by a unidentified elderly Jewish man about how he met his wife, When Harry Met Sally introduces the main character 'Harry' (Billy Crystal) in full on make out session with his current girlfriend, before sharing a drive from college with Sally, where in conversation the back and forth paints her as somewhat uptight, while Harry's tendencies show him as rude and gloomy, with a 'dark side', establishing the contrast between the two characters, who don't seem to get on well at first. The next part of this opening is the two discussing the ending of Casablanca, a hugely famous classic romantic movie. This opening is effective as it introduces both romantic leads and establishes the dynamic that will form their relationship.

Romance Opening Analysis: "Stranger Than Fiction"

Similar to Annie Hall, Stranger Than Fiction's opening scene introduces us to the central character, played by Will Ferrell. This sequence is accompanied with the somewhat celestial narration provided by Emma Thompson explaining the specific peculiarities of the main character's everyday life, and employs clever and complex computer generated imagery to demonstrate its many points. The scene has a wild, kinetic style, following 'Howard' throughout his day, with a quirky and jazzy musical score, which highlights the genre of the film. In-depth statistics are used to define each and everything he does, in his life of solitude. Like the conventions romantic comedies, the main character is seemingly outcast from society, and significance is placed upon the fact that he is alone. At the very onset and at the very end, emphasis is drawn to his wristwatch, the final line creating an interesting enigma about its importance, which can only engage the audience into watching the film.

Romance Opening Analysis: "Annie Hall"

Annie Hall features an opening monologue, in which the lead speaks directly to the audience, actually discussing the nature of his character, and his motivations. The entire opening is a static close up shot of Woody Allen's character 'Alvy' expressing his extremely pessimistic attitude to life and relationships with women, through a series of jokes and anecdotes, culminating in the announcement of his breakup with his girlfriend, seemingly devastating as he questions how it happened. He breaks the fourth wall even further by stating his character is neither morose nor depressive, before leading into the beginning of the film by starting with his childhood. His character fulfills the romantic convention of a socially inept or shy leading character, hopelessly in love with someone who does not necessarily feel the same way, his relationships seemingly unsuccessful. This scene is not scored, with only Allen's voice providing the soundtrack to the scene. This opening is effective as it throws you in straight away with the nature of the protagonist, and the setup of the film - the enigma of what the events were exactly that led to his breakup with Annie.

Conventions Of The Romance Genre

October romantic comedy Ruby Sparks

Almost every romantic movie follows a similar structure: boy meats girl, boy loses girl, boy finds girl again. This is a successfully proven formula that attracts audiences of both male and female demographics, as well as a number of other conventions that distinguish romance from other genres.

The lead, unlike action movies, is often vulnerable, shy or socially inept, often just having broken up with a lover. He or she is attracted to someone who seems unattainable, and there is some sort of social divide that is stopping their love. A love triangle is a theme that is found in many romantic movies, with the object of affection engaged to someone they don't love, or an ex-lover wanting revenge on the lead. Age difference is a popular theme, such as The Graduate, Lost In Translation or the recent Liberal Arts.

Romantic movies can be divided into many sub-genres, the romantic comedy being the most popular, with an  almost universal audience. Teen romances have distinct cliches, such as the jock and cheerleader characters, and many romances are set around a particular situation, such as a wedding or a party. Other romances can span years, such as The Notebook or time travel romance The Time Traveller's Wife.