Showing posts with label Yolande Bramble-Carter]. Show all posts
Showing posts with label Yolande Bramble-Carter]. Show all posts
Tuesday, 27 January 2009
Thursday, 4 December 2008
Our Thriller Opening
Filming and Ideas:
At first we had only an abstract idea of what we wanted to do. We wanted part of it to be set in a forest. We also thought it would be good to have some of it take place in a darkroom and may be have a wall of photos. Throughout the darkroom scene suspense music would be played. I thought it would be interesting if we had an interrogation playing throughout the forest scene. The idea was that there would be a stalker who has been following this girl and in the scene where he follows her through the forest you find out that he’s actually murdered her as well. During later stages we decided it might give the start more energy if we cut between these two scenes and we could also add suspense if as we cut back to the forest we get closer and closer to the girl (played by Yolande). In the darkroom we cut to things the stalker has such as a film reel, camera and pictures of Yolande on his cabinet. Filming in the forest was hard because sometimes Yolande had to be a certain distance away from us and yet we needed to tell her when she was meant to run from here to there. I had to be called to give the right cue to Yolande at times. It would've been easier and a lot more cost effective to have used a radio.
The first day filming was spent 3 hours set in the dark room to reflect on the stalkers thoughts/ideas/plans. We filmed; panning shots over pinned up photos of the victim with red and white lighting, we did a white spotlight in the dark room over film reels floating in water with the effect of a tap dripping which gave a gentle ripple effect, moving the images giving a rhythm and feel of stillness and silence in the room; to create suspense as you wait for something to happen. The use of the steady, hand held, swinging spotlight in the dark over the camera gives an indication of the theme or the base of the subject is. The audience think why? What? Where? Confusing them, enforcing vulnerability on the audience as part of the thriller film.
At first we had only an abstract idea of what we wanted to do. We wanted part of it to be set in a forest. We also thought it would be good to have some of it take place in a darkroom and may be have a wall of photos. Throughout the darkroom scene suspense music would be played. I thought it would be interesting if we had an interrogation playing throughout the forest scene. The idea was that there would be a stalker who has been following this girl and in the scene where he follows her through the forest you find out that he’s actually murdered her as well. During later stages we decided it might give the start more energy if we cut between these two scenes and we could also add suspense if as we cut back to the forest we get closer and closer to the girl (played by Yolande). In the darkroom we cut to things the stalker has such as a film reel, camera and pictures of Yolande on his cabinet. Filming in the forest was hard because sometimes Yolande had to be a certain distance away from us and yet we needed to tell her when she was meant to run from here to there. I had to be called to give the right cue to Yolande at times. It would've been easier and a lot more cost effective to have used a radio.
The first day filming was spent 3 hours set in the dark room to reflect on the stalkers thoughts/ideas/plans. We filmed; panning shots over pinned up photos of the victim with red and white lighting, we did a white spotlight in the dark room over film reels floating in water with the effect of a tap dripping which gave a gentle ripple effect, moving the images giving a rhythm and feel of stillness and silence in the room; to create suspense as you wait for something to happen. The use of the steady, hand held, swinging spotlight in the dark over the camera gives an indication of the theme or the base of the subject is. The audience think why? What? Where? Confusing them, enforcing vulnerability on the audience as part of the thriller film.
Tuesday, 4 November 2008
Preliminory exercise
What i have learnt:
Taking part in the behind camera elements meant that i have now become more confident in filming also learning new things like the importance of continuity, match on action, establishing shot and the 180 degree rule Diegetic/Non-Diegetic. Before we started filming i was not aware of how much we needed to do
What i have learnt:
Taking part in the behind camera elements meant that i have now become more confident in filming also learning new things like the importance of continuity, match on action, establishing shot and the 180 degree rule Diegetic/Non-Diegetic. Before we started filming i was not aware of how much we needed to do
Early Thrillers
Vilans: These films had to be respectable - law abiding institutions. the first film to break the law was 'The Great Train Robbery' - landmark 1903; they showed moral lessions that provedhow dangerious and unprofitable crime was. Thugs were shown usually with heavy blck make-up to be unshaven.
Heros were coloursless and the bad guy/villans wore the darker clothing and were the bulk of plot motivation. for example, 'The Lonely Villa' and 'A girl and her Trust' created tension by the heroine constantly menaced by the villians, with the occansional cutaways to the hero putting rescue plans into operation. At these times the motive was quite simple; robbery. All villiany was like this. It influenced alot of melodramatic, victorian novels. Th movies were full of such situations as a girl taking on a mans job and proving herself to handle all emergencies as well as a man including the outwitting of robers.
By 1910 the villians had become sophisticated villians, hoodlimus, brutes and other clearly defined types. then by 1914 the movies had changed quite a bit, they were on there way to becoming an art as they were already big business sprked by names like Mary Pickford, Charlie Chaplin, Helen Gardener, and Maurice Costello, the star system had arrived to sky high rocket saleries. Once a player/character became a star there was no fluctuating between good guys and bad gauys, he had to be somebody the audience had to root for all the time.
It was Panzer who conveniently encompassed severl different brands of villiany. First, he was ruthless, with no regard at al to humand life. Second, he wqas cunning and crafty. Like in 'The Perils of Pauline' playing Pearls guardian, he tried to kill her off from the first chapter to the last, and never once did pearl tumble to the double-game he was playing. He betrayed her at every turn, set her out to sea in a leaky boat, sprinkled barbed wire on the road hoping to wreck her racign car, and tried poison, time bombs, snakes, and every other conceivable mode of execution in his efforts to dispatch her. But, even in the final episode when his teachery had rebounded on himself and he had gone to watery grave, meanwhile Pearl seemed naively unaware of his perfidy. on the other hand, she didnt seem induly distressed by her guardians suden demise, either. Panzer, dressed to the hilt and usually sporting jack boots and a deer-stalker hat, gave his villiany a robust exuberance that seemed to have even greater gusto when compared with the rather underplayed heroics of Peal White. He'd grimace, shake his fist, pantomime his newest scheme, and gloat gleefully in anticipation of its succcessful execution. Panzer was in movies until the 1950's, somehow he always seemed to be playing Koerner and perhaps because of that never became a really important silent villain. Koerner was one of the last standing grand Victorian villian.
Reference ; Bok written by William K.Everson, Published by Citadel Press,
Vilans: These films had to be respectable - law abiding institutions. the first film to break the law was 'The Great Train Robbery' - landmark 1903; they showed moral lessions that provedhow dangerious and unprofitable crime was. Thugs were shown usually with heavy blck make-up to be unshaven.
Heros were coloursless and the bad guy/villans wore the darker clothing and were the bulk of plot motivation. for example, 'The Lonely Villa' and 'A girl and her Trust' created tension by the heroine constantly menaced by the villians, with the occansional cutaways to the hero putting rescue plans into operation. At these times the motive was quite simple; robbery. All villiany was like this. It influenced alot of melodramatic, victorian novels. Th movies were full of such situations as a girl taking on a mans job and proving herself to handle all emergencies as well as a man including the outwitting of robers.
By 1910 the villians had become sophisticated villians, hoodlimus, brutes and other clearly defined types. then by 1914 the movies had changed quite a bit, they were on there way to becoming an art as they were already big business sprked by names like Mary Pickford, Charlie Chaplin, Helen Gardener, and Maurice Costello, the star system had arrived to sky high rocket saleries. Once a player/character became a star there was no fluctuating between good guys and bad gauys, he had to be somebody the audience had to root for all the time.
It was Panzer who conveniently encompassed severl different brands of villiany. First, he was ruthless, with no regard at al to humand life. Second, he wqas cunning and crafty. Like in 'The Perils of Pauline' playing Pearls guardian, he tried to kill her off from the first chapter to the last, and never once did pearl tumble to the double-game he was playing. He betrayed her at every turn, set her out to sea in a leaky boat, sprinkled barbed wire on the road hoping to wreck her racign car, and tried poison, time bombs, snakes, and every other conceivable mode of execution in his efforts to dispatch her. But, even in the final episode when his teachery had rebounded on himself and he had gone to watery grave, meanwhile Pearl seemed naively unaware of his perfidy. on the other hand, she didnt seem induly distressed by her guardians suden demise, either. Panzer, dressed to the hilt and usually sporting jack boots and a deer-stalker hat, gave his villiany a robust exuberance that seemed to have even greater gusto when compared with the rather underplayed heroics of Peal White. He'd grimace, shake his fist, pantomime his newest scheme, and gloat gleefully in anticipation of its succcessful execution. Panzer was in movies until the 1950's, somehow he always seemed to be playing Koerner and perhaps because of that never became a really important silent villain. Koerner was one of the last standing grand Victorian villian.
Reference ; Bok written by William K.Everson, Published by Citadel Press,
Tuesday, 7 October 2008
Thriller Subgenres
A thriller is generally is a fast paced, action packed drama with quite resouseful characters. Although it can be catagorized very easily it usually includes more than one genre, which becomes the subgenre. in order to make a good Thriller it must contain suspense, clifhangers, puzzles. As long as you have these elements a Thriller can be set practally anywhere like, an exotic setting, rural areas, deserts, polo regions etc.
The general characteristics of a thriller varies like mystery stories, crime/mass murder, terrorism, assassination. They mostly deal with quite big issues, there are usually mysteries to solve and suspense is held until confrontation; in the plot there is usually a twist in the plot.
Sub- genres
- sci-fi thrillers (I, Robot), A thriller where technology ahead our time plays a large part
- Action thriller (The Matrix) Usually
- Conspiracy thriller (Enemy of the State)A violent confrontation of a hero in front of a group of enemies.
- crime thriller (Righteous kill)
- Disaster thriller (The Day After Tomorrow)
- Eco-thriller (The Day After Tomorrow)
- Erotic thriller(Basic Instict)
Christian and Yolande
Thursday, 2 October 2008
The Begginning
We are group one. In our group their is Jack Perry, Christian Graham, Yolande Bramble-Carter and Taio Rene-Lawson. Taio and I did the GCSE media course and have some minor experience of using the cameras as we made a soap opera opening sequence last year. Christian and Yolande are brand new.
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