'The Watching' Documentary Questions

What does Thomas Sutcliffe mean when he says “ Films need to seduce their audience into long term commitment. While there are many types of seduction, the temptation to go for instant arousal is almost irresistible"? Thomas Sutcliffe is saying that films need to draw in their audience through out the whole of the film, whilst there are many ways to do this, It's too tempting to make the opening of the film the hook that keeps the audience watching. The 'Seduction' of the opening is important and it can either be the make or break of the film. I agree that it is tempting to give films an interesting opening, as viewers are more likely to watch it rather than a film that slowly builds up tension.

According to Director Jean Jacques Beineix, what are the risks of ‘instant arousal’? DIrector Jean Jacques Beineix says that, If you start a film off very strong, then you have to be able to maintain this strength throughout the film, and there is the danger that the rest of the film will never be as strong as the opening. 

Explain why “a good beginning must make the audience feel that it doesn't know nearly enough yet, and at the same time make sure that it doesn't know too little" If the Audience knows too much in the beginning then the plot of the film is pointless, however if the audience knows too little, they won't be able to connect with the film or understand what it is about. The directors want to leave the audience with just enough information to get them through the film, they don't want the audience to have discovered everything at the start.

What does critic Stanley Kauffmann describe as the classic opening? Why does this work? The 'classic opening' was where a film would start with an establishing shot, New York City seen from the east was commonly used. Then there would be a close up of a building, and then the camera went up the building the a window, and then through the window, pass the receptionist and go into the main office.  Where the main character would sit. This type of opening worked as it told you; Where the film was taking place, the occupation of the hero, bust most importantly this type of opening told you the organization of the world - whether or not it was in order. 

Why is Kyle Cooper’s title sequence to the film Seven so effective? Seven's psychotic title sequence already introduces us to the main characters obsession with needles. Without the use of dialogue Kyle Cooper has created an effective title sequence that draws the audience in, and creates a relevant opening to the film that sets the mood.

What did Orson Welles want to achieve with his opening to the film A Touch of Evil? What did Universal Studios do to it? Why? Orson Welles had intended the opening of 'A touch of evil' not to have any credits or title sequence. He wanted to "plunge the audience into the story without giving them time to prepare themselves'. However the studio didn't agree with them and choose to put in a score and credits, Orson Welles then wrote a 58 page memo pleading them not to put opening credits into it, he still lost the argument with the studio.

What is meant by “a favourite trick of Film Noir ”? What is the trick? 

The trick known as 'a favorite trick of Film Noir' is when an opening of a film seems like the ending. The opening of Casino is an example of this trick. In which the main character narrates with confidence, and then is blown up with his car, the audience then want to know how the character go to the point. What did he do to get blown up and why did he do it, questions which can only be answered by watching the rest of the film.

 How does the opening to the film The Shining create suspense? 

The camera pursues the car, as if it is as predator, at a high angle from behind. The camera never strays to it's amazing surroundings but clings to the view of the car. Everything tells us that these people shouldn't be heading in this direction, which creates suspense as to what will happen to these people. The non-diegetic sound also tells us that something bad will happen with its low pitched drones.

Collateral Remake - Post Production

Using our Storyboards, as previously posted, of collateral we have created a   remake which can be viewed here.

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Unfortunately we were unable to take photos of the filming process, this is due to the fact that we only have 3 members in our group. Whist Vanessa and I were acting, Zaiba filmed, which meant we were unable to take photographs. Perhaps next time we will be able to ask people to take pictures for us. Our location was Owens field, Islington, London. Our other problem was that we forgot to manually adjust the focus on a few shots, which meant that unfortunately the characters were not always in focus, However next time we will be sure not to make the same mistake.

Importing clips

First we had to import our clips taken this morning into Final Cut Pro, the software we will be using to edit our opening to a horror film.

Music can be imported similarly we used 'Inception' a piece of music we found on YouTube, However we realise if we were going to use this piece of music in our opening of a horror movie we would have to get copyright permission first.

Cutting transitions and effects

In Final Cut Pro there are two screens, the first shows the clip you have selected whilst the second shows everything that is on the timeline. The first can also be used to cut clips, using 'i' and 'o' as input and output points you can also drag these along to change the input and output points. Only the footage between the input and output points will be shown when you drag it down to the timeline.

Once in the timeline you can add effects, music, crop via the timeline, and add more clips. You can crop a clip on the timeline by dragging it in either direction.

There are also tracks for video and audio, the video tracks are above the thick line, and audio are below. Audio can be edited in the same way on the timeline however if it is connected to a video it will crop the video too. If you only want to crop the audio then you should lock the video tracks so that they remain unaffected.

We added effects and transitions like so, placing them on the desired track.

Rendering the video

                                                            

                                                                                 First, while in Final Cut Pro we
                                                                          selected file, then Export to
                                         MPEG-4

 Then using the following settings we saved our remake of collateral, and uploaded it to our blog.

Conventions of film openings - Chakushin Ari (着信アリ)

Chakushin Ari (着信アリ) which translates to 'One Missed Call', is a Japanese Horror film directed by Takashi Miike in 2003. The Japanese Trilogy was made long before the American Remake. Chakushin Ari (着信アリ) is a trilogy, however I'm only going to be using the opening of the first film to illustrate the conventions of film openings.

     Chakushin Ari (着信アリ) What is it about?

During a get together with friends, Yoko Okazaki's mobil phone rings in an unusual tone. Yoko doesn't pick up the phone and recieves a voice maiil or Chakunshin. She sees that it is from her own number, 2 days into the future. Yoko and her friend Yumi Nakamura listen to the message. They hear the sound of train station gates closing and voice of Yoko 'Oh no its raining' followed by a horrendous scream.

Yoko and Yumi try to laugh about the message, they even share it with their friends. Two days later, at the time the voice mail was sent (11:04pm) Yumi recieves a call from Yoko, in which we hear the sound of train station gates closing and voice of Yoko 'Oh no its raining' followed by a horrendous scream. Before Yumi has the time to warm Yoko, Yoko is violently thrown by an invisible force through a chain link fence onto a speeding train below. Yoko's body is run over, and her arm is separated from her body, but her severed arm manages to dial someone else... the next victim.

Conventions of film openings

• introduce production company logo
• introduce distribution company logo
• often carry a title sequence
• mood and tone established with sound
• intended to hook the audience into the film, done through narrative
• introduced to key characters, in the opening of the film

Chakushin Ari (着信アリ) Opening

In the opening of Chakushin Ari, Production and Distribution companies logos are not introduced. However a title sequence is used, in which words flicker across the page conveying loss of signal from a Mobil phone. In the background we can hear static and a voice mail tone, we see people dialling phones but effects have been used to create a static illusion. The clips of the people are squashed down as if there are technical errors, constantly blinking. The unnaturally scary mood is established in the title sequence by a non-diagetic electronic drone at the beginning.

Yoko Okazaki Receives a phone call whist in the bath room, it isn't her usual ring tone, so she doesn't pick up. When she answers the voice mail, the view is switched to something peering from the cubical door. The camera shakes in its view and we hear a growling drown, this helps to create the mood of fear in the opening. It is this point that hooks the viewer onto watching the rest of the film, as suspense and fear are starting to be created here. Coincidentally as the voice mail ends with Yoko's screams, the door slams shut, it also acts as a transition.

Then a few days later when Yoko is violently thrown by an invisible force through a chain link fence onto a speeding train below. Yoko's body is run over, and her arm is separated from her body, but her severed arm manages to dial someone else... the next victim. The audience are hooked on, wondering how or what dragged Yoko off the bridge, and how her severed arm was able to make the next call.

Research Task: Orphan

My task during the holidays was to watch a thriller movie in which I chose to watch the movie "Orphan". Orphan is a 2009 psychological thriller, whereby a couple named "Kate" and "John" recently lost their baby. The couple then decide to adopt a child and choose "Esther" a 9 year old girl who is not nearly as innocent as she claims to be. While Max (Kate and John's 5 year old daughter who is deaf and unable to speak) takes an instant liking to Esther, Daniel (Kate and John's 10 year old son) on the other hand isn't fond of her. After a series of events Kate becomes suspicious of Esther, she begins researching Esther's past life, coming across "Saarne Institute", which she believes to be a previous orphanage Esther used to belong to. However, in calling Saarne Institute Kate finds out by Dr Varava, that Saarne Institute isn't a orphanage but a mental institution, and that  Esther, is really a 33 year old women called "Leena Klammer" who has "Hypopituitarism", a condition that has stunted her physical growth; spending most of her life posing as a little girl. Dr Varava also warns Kate saying she must call the police immediately as Esther is dangerously violent and capable of murder, and ran away from the institution a year ago. 

With Daniel at the hospital, after Esther attacked him, Kate runs home and discovers John stabbed to death and breaks down, but her concern lies with Max and her safety. Just as Esther is about to discover Max, Kate comes to her rescue and her and  Max run away from the house, in hope to be aided by the police who are yet to be on their way. While Kate is comforting Max, Esther suddenly appears lunging at Kate with a knife, and are both pushed into the freezing waters.  As Kate is climbing out of the water, Esther pops up and grabs onto Kate's legs, with the knife hidden behind her back. Esther begins to plead with Kate saying, "Please don't let me die, Mommy." However, Kate finally loses it and yells "I'm not your f*cking Mommy!" and kicks Esther hard, breaking her neck and killing her, making her sink back down into the freezing waters. 

Within this blog, I will be analysing the first two minutes of Orphan, in terms of sound, camera and the main title sequence. Before the movie begins we are met with the production company logo of "Warner Bros. Pictures". The logo, doesn't appear to look its usual golden yellow and blue, but instead its appearance varies in ways such as the background being black, and the logo being covered in neon blue and purple. The significance of these colours are related to Esther's expressive drawings of wanting to kill in which neon colours are used, this may highlight the movie is indeed a thriller, and will contain some dark and mysterious parts. 

Soon after the production company "Dark Castle Entertainment"  is shown, in which it too resembles the same neon colours, continuing the eerie atmosphere. Dark Castle Entertainment was made to honour "William Castle" a horror film maker, in which they wanted to recreate all his horror movies. After a couple of years Dark Castle Entertainment began creating their own movies and their most critically acclaimed movie was Orphan. While the first minute is playing we are able to hear a low music bed, which is considerably frightening and spooky for the audience,  keeping them engaged.  

After this, the movie then goes on to show the overall title name of the movie, in which the same neon colours are shown, in doing so the movie adds a huge thunderclap when the title name of the movie appears, frightening consumers as the slow low key music moves into a huge shock for the audience. Moving on, the film then goes on to show Kate and John at the hospital, where Kate is ready to have a baby. From looking at the setting, everything looks white and dream like making it predictable to the audience that Kate is having a dream. 

Although, nurses are supposed to be of help and are good people, the irony in this is that, to me she feels demented and crazy, and that she isn't going to be of much help. Even by her facial expressions she looks like she is going to do something bad. The sound in this particular scene is diegetic, in which we can hear people talking in the hospital and the movement of people as well. 

During the final seconds, the scene shifts to Kate realising something is wrong with her baby, as blood is coming out from her body. The nurse carries on wheeling her wheelchair, as nothing is happening. It is highlighted here how strange the nurse is acting not assisting Kate while she is bleeding. Two minutes into the movie, the audience are shown a traumatic scene with blood oozing everywhere. In my opinion, Orphan starts considerably well captivating the audience by revealing a bit of information but not too much for them to consider the ending to the movie.  

Extension Task

1. What does Thomas Sutcliffe mean when he says “Films need to seduce their audience into long term commitment. While there are many types of seduction, the temptation to go for instant arousal is almost irresistible”

My view point on what Thomas Sutcliffe has to say is that he believes any opening to a movie has to captivate the entire audiences attention, in order for them to fully enjoy the movie. I agree with what Thomas Sutcliffe has to say, if the opening to a film isn't entertaining enough to draw the audience in then it may bore them enough to not want to be there. Also, a movie opening may depict what will happen in the film, leaving the audience intrigued and engaged, and wanting to watch more.

2. According to Director Jean Jacques Beineix, what are the risks of ‘instant arousal’?

Director Jean Jacques Beineix would argue however a powerful opening, may ruin the audiences anticipation for more, sometimes films may or may not match up to the opening; if they don't then the movie will not end in a high note, leaving the audience unsatisfied and aroused. 

3. Explain why “a good beginning must make the audience feel that it doesn't know nearly enough yet, and at the same time make sure that it doesn't know too little"

Every movie, should have a good enough opening sequence to draw in the audiences attention. Despite this, openings should never reveal to much information, as it makes the rest of the film predictable making the consumers feel uneasy on watching the rest. However, it still doesn't take away from the fact that the opening should present a bit about the context in which they can focus on a certain  history of a setting or a important character, which will be of much significance to the plot of the movie. During this part directors can reveal a bit of information but not too much for the audience to feel let down by. 

4. What does critic Stanley Kauffmann describe as the classic opening? Why does this work?

Critic Stanley Kauffmann would discuss how a classic opening would begin with a establishing shot in terms of New York city. He states that there would be a close-up of a building, in which the camera would soon after move to a window, and then go inside the window going past the receptionists desk towards the private office. All this contributes to where the movie was going to take place and the occupation of the protagonist. Stanley believes this technique works as it sets organization, and allows the audience to distinguish who is who and what is what.

5. Why is Kyle Cooper’s title sequence to the film Seven so effective?

The title sequence to the movie "Seven" is effective to me, because due to its dark and sinister atmosphere, consumers immediately know what their about to watch which is a genre based thriller film. Not only does it let the audience know what their in for, but it also foreshadows the plot, allowing the viewers to know their will be a dangerous serial killer. 

6. What did Orson Welles want to achieve with his opening to the film A Touch of Evil? What did Universal Studios do to it? Why?

Orson Welles wanted his title sequence to be different to the typical title sequence everybody see's, he wanted his to be a good strong opening without any music or credits, "wanting to plunge the audience into his story without giving them time to prepare themselves". However, the studio didn't agree with Orson Welles, creating their own version to the title sequence, adding in a score and title credits which simply lost the effect that Orson had. 

7. What is meant by “a favourite trick of Film Noir ”? What is the trick?

"Casino" is an example of "a favourite trick of Film Noir", in which the beginning of the film is actually a sort of ending which has been fast forwarded, leaving the audience to question how the protagonist got to his position.  

8. How does the opening to the film The Shining create suspense?

The opening sequence to the film "The Shining" creates suspense in the way the camera has been positioned, pursuing and focusing on the car like a predator and placed behind the car away from its sight. The sound is building the tension and also adding to the suspense, everything that the car seems to be doing shows that these people are travelling in the wrong direction and are heading for trouble.