Location List.

Location 1

In our first scene we used a plane to film one of the shots. We used the plane in the school and made it look realistic, as we had problems filming in a real plane because of turbulence. we used the plane to add the feeling that the viewer is traveling with the main character as she moves back to England.

Location 2

This is where we filmed our main shots. We used this bridge as it has only two exits and in our film opening we have to have her making a choice from two options so it matches perfectly.

Location 3

This is where we filmed the flashbacks. It was all in the same room but filmed from different angles. We used this room because, when the lights are off it looked like an old abandoned boiler room. We wanted somewhere that gave a lot of room for hiding opportunities, so you never really know where she is hiding even though you watch her move.

These were the two main sections of the room we shot in:

Location 4
We used this park to film the swing scene to show past and future, it gives the impression of the main character trying to relive the time she spent with her boyfriend.

We also used some areas around college for filming parts of the memories, for example we used the college's smoking area to shoot the memory of Kate and Danny meeting as it was a last minuet addition to our opening and college was the most convienient place.

'Eternal Sunshine of the Spotless Mind' film analysis

In the opening scenes of Eternal Sunshine of the Spotless Mind we see Joel and Clementine meet for what looks like the first time. The scene starts with a close-up of Joel waking up. A depressing score plays and we hear Joel’s voiceover narration. This gives the spectator the feeling that Joel is talking to them. He tells us about the beach and how it is always freezing, which gives us the impression that Joel mainly focuses on the negative things in life. The tone of the score also gives us that impression of Joel as it is very low beat and the lighting is also very dark around Joel which again gives the impression of depression.

Joel’s world suddenly lights up when he first sees Clementine which implies that she is quite a happy person, the complete opposite of Joel. Also the score changes dramatically when Clementine talks to Joel on the train: it becomes more upbeat and a lot happier.

Joel dresses in a way that enables him to blend into the background, which gives the spectator the impression that Joel is not an outgoing person, nor very confident; whereas Clementine’s clothes are bright and colourful, making her stand out from everyone else, giving the impression that she is very confident. We also see confidence in Clementine when she immediately starts talking to Joel on the train as if she has known him her whole life. Even though Joel and Clementine are complete opposites and they have nothing in common, there seems to be an instant connection between them both, which as we find out later in the film is because they have met each other before but they do not remember it.

A very significant part of the opening scenes is the ‘ice picnic’ scene, in this scene the score is almost a mix of both of their own scores from the start which creates a romantic atmosphere. This is because when two people are very close we start to see them almost as one person. So when the scores mix, it could be a metaphor for them becoming one person.

We see Joel drop Clementine off at home, and while he waits for her we see Patrick knock on the window. He is obviously confused by Joel’s presence, because Patrick helped to clear Clementine's memory of all memories of Joel. The spectators do not know this yet, but because of this, he does not understand why Joel is with Clementine.

It then fades to black and we see Joel in his car crying, the score turns very frantic as Joel drives home. These is when we see the opening credits which are unlike the usual centre-based opening credits and are on the right-hand side. Also unlike usual opening credits, the opening credits in Eternal Sunshine of the Spotless Mind do not begin until at least twenty minutes into the film and after much of the action and plot. In addition, the text in the opening credits appears quickly and then slowly withers away, like a memory. This is very significant as the film is about Joel and Clementine losing their memories of each other.

We then enter Joel’s apartment, which is very dark and depressing. The score changes yet again as we see him change into the pyjamas the memory clinic have sent him and we see him taking a pill. We then realise that the pyjamas that Joel just newly opened are the same pyjamas that he woke up in. This makes us think that perhaps this is the real start of the film and we realise that the first scene is really the end of the film. We chose to analyse this opening as it uses a voiceover which is an element we want to use and also the start of the film is really the end of the plot which is how our film starts.

'American Beauty' film analysis

American Beauty is a dramatic comedy as opposed to a dramatic thriller but that is not the reason we chose to analyse this film opening. We chose to analyse it because it has a voiceover. We decided we needed to research voiceovers to find the most effective way of using them. We used American Beauty because it establishes what the film will be about and why, which is what we plan to use voiceovers for.

The extract begins with a non-diegetic score that makes the scene seem happy. This is playing while we see a long establishing shot zooming into a stereotypical suburban neighborhood. The score then ends and the voiceover begins. It establishes the scene and then allows the audience to be introduced to the main character. It then cuts to a bird's-eye shot of a man lying face down in bed. The room is clean and the audience would expect the man to be happy and placid like the location he is in, but the voiceover challenges this assumption. It then cuts to a mid-shot of him turning over which allows the audience to see the emotion that reaffirms what the voiceover is telling them. While the voice over continues, the extract cuts to a close-up of him putting his feet into slippers, which is a stereotypical shot for someone with a happy domestic life. Thus, the voiceover is a constant contradiction to what the audience are used to thinking. It then cuts to a close-up of the same man in the shower with water pouring onto his face. We hear sounds of realism as well as the voiceover which makes the opening extract more realistic. The extract then cuts to a medium-shot pan across a clean bathroom of the man in the shower while the voiceover continues. It then cuts to a close-up of a red rose and tilts down to hands trimming it. We then cut to a medium-shot of a woman with a rose while the voiceover introduces her. The opening then cuts to a wide tracking shot of a dog running and we can hear it barking which again adds sounds of realism. We then cut to a medium-shot of the dog through a white picket fence, which is again stereotypical of this setting of the domestic neighbourhood. It then cuts to a wide shot of a man in a suit, once again stereotypical for this location, leaving a clean house. The voice over continues throughout. There is then a medium-shot of the main character looking out from a window. He is the only part of this opening that is not clean and wholesome and the voiceover reiterates this idealism. It then cuts to a two-shot of the wholesome neighbour in a suit talking to the main character's wife with the main character looking out the window in the background. This shows that he does not fit in the location since he is separated from the others members of the community.

'Gladiator' film analysis

Gladiator is a dramatic thriller, the same as our film, and this is why we chose to analyse this film opening. The other reason is that the atmosphere that is developed in gladiators opening is the kind of atmosphere we wanted to create in our film opening. We chose this film beginning because the main character doesn’t speak, diegetically or non-diegetically, until he needs to. This gives a feeling of suspense, which is what we want our film to do. We want to make the viewer wonder what will happen next. The opening of gladiator gives the impression of what is to follow but does not allow the audience to have enough information to know, it also gives the audience enough information to know what point the story is starting from. This is what our film does, the non-diegetic dialogue gives away the past and gives the impression of the future.

The film opens with the ‘Universal’ clip and the ‘DreamWorks’ clip, but instead of it being bright and colourful it was turned sepia to give it an old-looking effect. This also sets the viewers mind into an old time-frame for the film before it even starts. The scene stays in this colour-scheme as text comes onto the screen explaining the exact year in which the film is set. This also explains why they are at war and gives a brief history of Roman leaders. It explains all this at the beginning of the film; if it didn’t the film would be very confusing. Behind all this writing is the constant movement of golden dust reminding you of the golden sand found in the Roman Coliseum.

Following these opening shots, it goes from a match-cut to a shot of a field with a close-up on a gladiator's hand. The camera follows his hand using a handheld camera going up and over the plants. This technique is used for 22 seconds giving an illusion of peace and almost not wanting to disturb the grain and wheat. The golden colour of the field gives a sense of warmth and happiness to the viewer, yet the hand is dirty and looks rough, his ring shows that he is not poor, but a working man of some sort. When the vambrace comes into view it gives the audience an idea of a fighting man or a hero but then another match-cut puts you in the dark, dreary war zone in ‘Germania’ at a medium-shot with the main character who seems to be daydreaming. This gives the viewer the idea that it was his imagination showing them the field. When he comes to his senses (after blinking multiple times) the viewer follows his eye-line (shot) to a robin, which may have sparked his daydream.

The non-diegetic music which has been playing since the first second suddenly increases in tempo and everything seems to suddenly get faster, busier and more intense. The cameras do wide shots on cantering horses and on people moving into larger groups and setting up for war. All of these shots were filmed in low-angle shots giving the viewer the feeling that these men are important. This idea is reinforced when the next cut shows the men kneeling for the main character, thus showing that he is in high power. The love shown by him to his men shows that they are important too. The next scene shows the opposite; it is a wide shot of two men with a blurred background of working men. The man says that the expense of some men’s lives is acceptable. The non-diegetic music lowers in volume as the camera zooms into the distance and focuses on the blue horsemen (who in history would protect Caesar), past the horsemen, and into a close-up of an old mans face (Caesar’s face). The non-diegetic music continues. I chose this film beginning because he doesn’t speak in the film or non-diegetically until he needs to. This gives a feeling of suspense, which is what we want our film to do. We want to make the viewer wonder what will happen next.

'Gaslight' film analysis

Gaslight is a 1944 mysterious dramatic thriller. We decided to analyse this film as it is the same genre and has similar features that we plan to use in ours. The film is about a man ruthlessly manipulating his wife, for nefarious reasons, into believing something other than the truth. Her husband, the person to whom she is closest, turns out to be the murderer; in our film it is her closest friend who is the murderer so we thought the themes of the two films were similar.

When Paula was younger, a strangler roaming the streets murdered her aunt, who lived at Thornton Square in London. Paula goes to stay in Italy and some time later meets Gregory. She and Gregory marry and afterwards they move to London, back to the exact house Paula lived in, which again links to our opening since the character is returning to where she once lived. One of the opening lines of Gaslight is: ‘The ghost of a man out of my past...’ This links into our movie since it is the story of a girl deciding whether to run from the ghost of her past or to confront it.

Throughout the opening of Gaslight, the scene is set. It is black and white, the costume and props show the period in which it is set. The lighting and atmosphere is very dull to add to the mystery of murder. The sound continues throughout the extract it adds tension and shows the mystery. The extract begins with a fade into a wide shot of the main street where the film is to be located. There are a few more establishing shots with period props and costumes that show the location. We are then introduced to the storyline with a close-up of a newspaper article, the non-diegetic score becomes more dramatic. It then cuts to a low angle shot looking to characters coming out of door, introducing the main character. They are in higher class period costumes. Cuts to a mid-shot of the main character, showing her emotion and connecting her to the newspaper article. The reporters and onlookers set the storyline with their facial expressions, while looking at the main character they connect the main character to the newspaper with looks of sadness and pity. The scene then cuts to a mid-shot inside the house, to prepare the audience for later in the film and to show the class status of the characters. Cuts to a mid-shot of the main character with onlookers showing sympathy, which allows the audience to understand the atmosphere. Cuts to a wide-shot of a carriage driving away which adds to the period theme. It then cuts to a two-shot inside the carriage. This is the point at which the diegetic dialogue begins. The extract then ends with a zoom into a close-up of the main character's face showing a reaction-shot from the secondary character's dialogue.

Production Treatment For Main Task

opening of a short film:

Genre: Dramatic Thriller

Title: Pretty Girls Make Graves

Tagline: Nothing is sweeter than needed revenge.
Duration:
2 Minutes
Audience:

Young adults between 15-26, both male and female
Resume:
The film begins with a shot of the main character standing on a bridge smoking. There is a female first person voice-over introducing her story. There is a flashback to this person in a corner screaming as we hear gunshots. She drops the cigarette and walks away, with focus on the cigarette. The voice over continues until the title is shown.
Suggested Elements:

• A girl stood on a bridge smoking


• Simple everyday clothes


• Cigarette


• Bridge

• Title and opening credits

Recording days: ".........."

Estimated budget: "............."

Storyboard

Shot List

This is the shotlist based off the finished film.

Shot1: Blank screen (block black colour) writing (Caketin Productions)

Shot2: Blank screen (block black colour) writing (In Association with Light House Pictures)

Shot3: Blank screen (block black colour) writing (A Sarah Legg Film)

Shot4: Medium shot of main character Sat down in plane getting comfy. Credits in corner (Caitlin O’Shea.)(Non diegetic dialogue)

Shot5: wide shot of Manchester (pan shot) credits in the corner (Thomas Reynolds, Ben Seager, Saad Khan).

Shot6: medium shot of main character lighting a cigarette (non diegetic dialogue)

Shot7: medium shot of main characters conversing (no sound) (faded colours) (non diegetic dialogue)

Shot 8: wide shot of main characters running through doorway into dark room then running different ways (diegetic dialogue)

Shot9: medium shot of main character inhaling on cigarette thinking (non diegetic dialogue)

Shot10: extreme close-up on main characters face as she inhales further into cigarette (non diegetic dialogue), tilt up too eyes blinking.

Shot11: over the shoulder shot leading to wide shot as main character runs away from camera. (Diegetic sound)

Shot12: extreme close-up on feet running (diegetic sound)

Shot13: low angle shot downwards onto main character as she falls over wood.

Shot14: further angle shot from different point as main character crawls into gap

Shot15: further angle shot from different point as main character crawls into gap

Shot16: Extreme close-up on watery eyes

Shot17: wide shot as two main characters meet in park.

Shot18: Close-up on hand and fingers tapping on cigarette

Shot19: wide shot of main character sat curled up in dark confined space (diegetic sound)

Shot20: Blank screen (block black colour) (diegetic sound, dialogue)

Shot21: wide shot of main character sat curled up in dark confined space (diegetic sound)

Shot22: close up on hand tapping cigarette

Shot23: Close-up on foot crushing cigarette following into wide shot as main character walks away.

Shot24: long shot on two main characters conversing on bench in distance.

Shot25: wide shot as main character continues to walk away.

Shot26: wide shot as main character walks down street away from the camera

Shot 27: over the shoulder shot as main character leans on railings.

Shot28: Wide shot as two main characters swing on public park swings (diegetic sound, dialogue)

Shot29: wide shot as main character on sings alone (non-diegetic dialogue)

Shot30: Blank screen (block black colour) writing (Pretty Girls Make Graves)

This was our original shot list but as we were recording we found that the shot list above it worked better with our theme.

Shot 1- Block Colour (Black)

Shot 2- Block Colour (black) background

Shot 3- fade into shot 3 from shot 2 of main character(medium shot) leaning on railings/ sat on a bench whilst inhaling on a cigarette (non-diegetic dialogue creates a sound bridge into shot 4)

Shot 4- Establishing shot Brooklyn bridge (credits in lower right corner)

Shot 5- (non digetic sound bridge from shot 4) medium shot of main character sat in airplane staring out of window ( credits in lower corner)

Shot 6- Establishing Shot- Manchester Eye

Shot 7- Establishing Shot- Hilton Hotel

Shot 8- Establishing Shot- Print works

Shot 9- wide shot of bridge with main character stood to the left side of the bridge (right side on view)

Shot 10- Extreme close up on mouth inhaling on cigarette and exhaling 3 times

Shot 11- tilt from extreme close up from mouth to eyes( extreme close up) , eyes stare directly at camera and blink three times (Non-diegetic Dialogue continues) match cut to shot 12

Shot 12- Wide shot of main character curled up in corner. Main light on her to give impression of being alone. Match cut to shot 13.

Shot 13- extreme close up on tear falling down face ( sound bridge of screaming from shot 12)

Shot 14- extreme close up of fingers tapping on the cigarette (nearly finished cigarette) and fingers flicking cigarette to floor.( non-diegetic dialogue sound bridge from shot 14 to shot 15)

Shot 15- close up on cigarette on floor being crushed by boot

Shot 16- slight tilt keeping cigarette in focus but watching blurred figure of main character walking away as non-digetic dialogue continues. fade from shot 16 to shot 17(non-diegetic dialogue continues)

Shot 17- block colour screen (black) main title dissolves in middle (“Pretty Girls Make Graves”)

These next few images are our dfferent attempts in a noteook working up to out final shot list( shown above)