Production Journal for Chase Scene #2

Finally finished everything related to acting, and now I am working mostly on last details, such as re-shooting various scenes. I feel that at times it can be annoying when people dont listen to my ideas, and frustrating, as selfish as it may sound, when my ideas are rejected, but it is all part of the process of doing films. We had many discussions in the group because of this.


When we started to edit, we started with problems on transitions but we managed to fix it. It was simple editing. A lot of discussions rose when it came to the sujet, but my idea was voted as the best one. We are almost finished. I feel that two different creative minds work together, too many discussions rise and a lot of time is lost, as well as how the irresponsability of one member can hold the entire group back. I feel that working with less people from the activity would be better.

Production Journal for Chase Scene

First Stage - Brainstorming/Story boarding

As always, getting the idea for the plot is the hardest stage. After a rather long discussion, going from ideas such as someone tripping over someone to a fight, we got the idea of a robbery. This is where the plot was created. It evolved as robbery, where a robber steals a girls purse, thus the running starts. We went later to take photos for the story board in order to know how to take the shots. Later that day I wrote the script for the film and finished the story board. Next week we have to suit upand prepare ourselves for the pitch, in order to be ready to present.

Second Stage - The Pitch, Changes, Shooting Schedule and Materials

We went and presented our idea to Mr. Keller, Mr. Dunn and Mr. Calderón. They liked our idea, yet they wanted us to add more portals and use more humour. I was planning to focus mostly on a chase scene keeping real life physics, but we came up with more ideas for portals. We also added another twist to the ending. I planned a shooting schedule that consisted mostly on activity time and one sunday to complete scenes where we needed open space. We are going to use our personal cameras, a tripod, a dolly and a small camera stand for POV shots.

Third Stage - Shooting

The biggest problem here where creative differences. We had many ideas, and our different tastes clashed. This created various discussions. At the end we did managed to get everything done, yet created changes such as a dramatic zoom in at Ximena in the initial scene. Sunday meeting started being a failure due an accident Alfredo, Jimmy and I had on the way to school (flat tire), but everything was completed. Today we are on our last day of shooting, and we need to shoot the locker scene where most of the dramatic locker interaction happens. Afer having worked as a producer, making the schedules and appointments, now I am taking the role of Actor as the robber.

Narration/Psycho

Narration defined

Narration refers to how the narrative is presented to the film spectator. It is the mechanism that controls how the spectator gains information about those actions, events and characters. (E.g. voiceovers in bladerunner, Terminator 2 Judgement day, Fight Club, A Clockwork Orange)

Narrative structure

• What is narrative structure based on?
• Narrative logic
• Cause and effect – NOT random events. This is what drives the narrative.

Narrative logic in action

• Event A a man is shot A points a gun in an off-screen direction and fires. In shot B another man is shown collapsing to the ground. Because of the way the shots are edited (shot B immediately following shot A) The spectator reads the event in shot A as the cause of the event in shot B

Let’s watch Psycho (1960, Alfred Hitchcock)

• We’ll watch the first three scenes (plus the great Saul Bass credit sequence)
• Write a brief synopsis of each scene in your laptop, WHAT is happening in each scene.
• By the end you should have the content of each scene one after the other…
• Then we’ll analyse the cause-effect logic of the narrative:

1. A city with buildings is shown; cars are going down the street. We see the date (Friday 11^th, two forty-three pm). We see through a window. A girl is on the bed in her underwear. She is talking with a man. They start kissing. They start discussing. Man kisses her; woman kisses back and hugs him. Man insists in seeing each other. Woman stands up abruptly and put her blouse on. Man stands up and starts playing with his shirt. We learn his name, Sam and the woman Marion. Sam starts hugging Marion and kissing her neck. Sam starts talking about how he has to pay a lot of things and opens the curtain abruptly. Woman asks for marriage, and Sam starts stuttering. Marion is in a hurry and leaves the hotel room.
2. Marion goes into her job, in an office. She talks to her co-worker. Marion is nervous and putting make-up quickly. Two men enter the office. He starts talking to Marion. He seems really keen in talking to Marion. He states he has 40 thousand dollars in cash with him. The man talks about the bottle of alcohol in the boss’s office. He tells Marion to leave the money in the bank. Marion puts the money in her purse.  She talks to her boss and leaves the office.
3. We are in her house. Marion is looking for clothes. There is a suitcase with a lot of clothes. She is nervous and she is putting a blouse on. She looks herself in the mirror and turns looking at the money, which is on her bed. She is quickly packing and the music insinuates that she is nervous and preparing to do something bad. She takes her suitcase, she gets her coat and leaves.

Some questions about narrative causal logic in Psycho

• What would be the effect is Psycho began with scene 3? Would it be logical? Why not?

We would not know why she is robbing the money, and it would lose its sense therefore it would not be logical.

• In what ways is scene 3 an effect of scenes 1 and 2? (In what way are they causes?)

Scene 3 is an effect of scenes 1 and 2 since in scene 1 we see that Marion needs money and scene 2 presents the opportunity of getting the money, therefore in scene 3 they show she has got the money.

• What is the significance of showing the money in the scene immediately after Marion and Sam talk about getting married?

We get to see the money after them talking so it shows simple yet effective use of cause – effect logic. After we see them talking about getting money we see money. We also learn that she truly loves Sam.

• Why don’t we see Sam leave the hotel and going to the airport – or Lowery and Cassidy eating lunch?

Because it is not relevant and it is not needed in order to tell the story, so it would not be logical.

• What other events are we NOT shown? Why?

Events such as what Sam is doing all along. It is not relevant to the story.

A small update

Just decided to make a small update. Recently I have been watching films in a rather more analytical way, and watched watchmen like this. I must say, watchmen becomes better with each time I watch it. I can believe that it is not only a great film, but it also has a great message. People usually critizise the soundtrack, but I believe that the songs where selected basically for their lyrics and not for their melody (thus, making more sense for 99 luftaballons by nena in the dinner scene and sound of silence for the funeral of the comedian). I know the film had mixed reviews, but I seem to be growing fonder of the film. Probably not in my favorite top 10, but for sure in my top 20. I must say its my favorite of Zack Snyder film. I believe he is a great director, and most of his films are great (with exception for sucker punch, which was just terrible. Obviously, he has only done ga'hoole, 300, watchmen, sucker punch and dawn of the dead).

Formalist vs Realist

1) What are realistic films supposed to reproduce?

 

nTries to represent real life

nReal camera angles (shoulder height for example)

nReal camera movement (neck moving)

nNo non-diagetic sounds

nNatural light

 

2) Why are formalist films stylistically flamboyant?

 

nDirector tries to create an emotion or make it flow.

nTry to show us all perspective of any scene.

nExpress as much as they can, they try to send a message via emotions created by them.

 

3) Why are formalist directors referred to as expressionists?

 

nBecause they express more than show something historical or realistic in a film.

nThey try to express a feeling.

nThey take a lot of what can be called surrealist in order to show the feeling they want to show.

 

4) Why would realists be more concerned with psychological truths?

 

nBecause they try to tell something more real life.

nThey want to show life how it is, so they focus on real life effects.

nThey try to look as natural as possible so it expresses the truth of actual life.

 

Example 1: Evil Dead 2 (1987) by Sam Raimi – “Groovy” scene

 

nhttp://www.youtube.com/watch?v=Qr4PcOQYFAw 

nIt is a montage (various shots, heavy editing).

nFlamboyant, to create a adrenaline effect.

nFocuses on trying to show the determination of the character.

nNon-diagetic sound, creates tension and shows determination.

 

Example 2: Shaun of the Dead (2004) by Edgar Wright – “Don’t stop me now” scene

 

nhttp://www.youtube.com/watch?v=t1WOKyX8g1k 

nDiagetic sound is used as a non-diagetic, showing the humor in the scene.

nQuick editing to show all the actions happening

nMovement is coordinated with non-diagetic, to create a more comical effect.

nTries to show the despair of the characters, without losing the humor, so it keeps their despaired expressions while keep the music for the comical value.

The Matrix script

INT. ROOM

There are two seats with a table in the middle. On top of the table there is a glass with water. It is clearly an old room with old doors. There is an old fireplace next to the seats, and it is turned off. Morpheus is in the room in front of a window. Camera focuses on him. He smiles. A thunder clashes in the background.

Morpheus

At last.

Walks forward.

Morpheus

Welcome, Neo.

Camera switches back to Morpheus. He is wearing a black leather trench coat.

MORPHEUS

As you no doubt have guessed, I am Morpheus.

Neo

It’s an honor to meet you.

They shake hands.

Morpheus

No… the honor is mine. Please, come. Sit.

Neo sits down; he feels awkward, nervous and confused. Trinity crosses in front of the camera. Door is closed OS. Camera cuts to Morpheus releasing the door handle. Turns and starts walking slowly towards Neo.

Morpheus

I imagine that right now you’re feeling a bit like Alice. Tumbling down the rabbit hole?

Neo is listening closely.

Neo

You could say that.

Morpheus smiles. He walks behind his chair.

Morpheus

I can see it in your eyes. You have the look of a man who accepts what he sees because he is expecting to wake up. Ironically, this is not far from the truth. Do you believe in fate?

Neo

(without hesitation)

No.

MORPHEUS

Why not?

Neo

Because I don’t like the idea that I’m not in control of my life.

MORPHEUS

I know exactly what you mean.

Morpheus sits and crosses his legs. He plays with a metal box in his hands. Neo is intrigued.

Let me tell you why you’re here. You’re here because you know something. What you know you can’t explain. But you feel it. You’ve felt it your entire life. There's something wrong with the world. You don't know what it is, but it's there. Like a splinter in your mind. Driving you mad. It is this feeling that has brought you to me.

Pause. Morpheus stops playing with the box.

Do you know what I'm talking about?

Neo

The Matrix?

MORPHEUS

Do you want to know what it is?

Neo nods. He is at the edge of his seat.

MORPHEUS

The Matrix is everywhere. It is all around us. Even now, in this very room. You can see it when you look out your window, or when you turn on your television. You can feel it when you go to work, when you go to Church, when you pay your taxes. It is the world that has been put over your eyes to blind you from the truth.

Neo gets closer to Morpheus.

Neo

What truth?

Morpheus gets closer to Neo.

MORPHEUS

That you are a slave, Neo. Like everyone else, you were born into bondage, born into a prison that you cannot smell, or taste, or touch. A prison for your mind. Unfortunately, no one can be told what the Matrix is. You have to see it for yourself.

He opens the box and looks inside. What is inside cannot be seen. Morpheus takes the contents, puts the box on the table and leans forward. He stares at Neo.

MORPHEUS

(solemnly)

This is your last chance. After this there is no turning back. You take the blue pill-

Opens his left hand and reveals the blue pill.

-the story ends, you wake up in your bed and you believe whatever you want to. You take the red pill-

Opens his right hand and reveals the red pill.

-you stay in Wonderland and I show you how deep the rabbit hole goes.

Pause. Morpheus has both his hands open, holding one pill in each. Neo hesitates, then quickly reaches out to grab one.

MORPHEUS

Remember-

Neo stops. The red pill is reflected on one lens of Morpheus' sunglasses, the blue is reflected on the other. Neo is reflected on both, his hand over the red pill.

-what I'm offering is the truth, nothing more.

Neo takes the red pill. He slowly grabs the water glass from the table and drinks it. Morpheus smiles, satisfied. Thunder roars in the background. Neo finishes the water. Morpheus takes the blue pill in his hand and stands up.

MORPHEUS

Follow me.

Mise-en-scène

1932

Directed by: Mervyn LeRoy

Studio: Warner Brothers

Genre: Film Noire (or gangster)

Movie start with quote: Fall all they take the sword shall perish – something - in the sword

Movie starts with a car stopping for gas and then in front t of restaurant (establishing shot). Hand is changing the hour in a clock. Diagetic sounds and two men start talking. It’s a small dinner. Two men argue. Rico insists on being a man with authority, via mafia business. The other one wants just to be happy, and after making money he wants to leave in order to “dance and be with women”, showing how he is a innocent character compared to Rico. They seem like small time criminals.

Establishing shot in front of a casino. Rico talks with a man in the casino. A boss is giving orders to Rico, and stating how he is the boss.

“But, remember, I’m the boss. And I give all the orders”

It is in a vertical frame, well light room but shadow behind the boss. Rico seems to be bowing down and showing admiration. The boss seems sombre.

Mise-en-scène for Little Caesar	Mise-en-scène for The Wizard Of Oz
Images, motifs: Hatds, desk, gas station, cars, fancy things typical from gangsters	Images: Ruby slippers, muchkins, the yellow brick road.
Costumes: Typical gangster suits of 1930’s, somber and dark	Costumes: Highly colourful and happy. A lot of green among the characters.
Set design: In a quite simplistic yet sophisticated room.	Set Design: A huge set, with a lot of colours. A lot of noise and attention to the characters.
Lighting: Sombre, more down to earth. Lighting focuses on the table with the 5 gangsters.	Lighting: Extreme lighting, high amount of colours.

The Wizard of Oz

1939

Directed by: Victor Fleming

Genre: Musical

Scene focuses on the yellow brick/magic red shoes. Hollywood had the right to use midgets. Camera mainly pans. Crane shot. Bright colour. Huge set design. Really expensive.