Wednesday, 21 January 2015

Wrong Return: Thriller Opening Research and Planning

RESEARCH AND PLANNING


1.   Explain how the treatment for your film fulfils the conventions of the thriller genre?

My treatment shows what has happened in the end but then cuts to reality and how it all started. The audience is left to suspense to think what has happened and what will happen.

2.   Do you intend to challenge the conventions in any way?

Not dramatically, but in some ways.

3.   Which real media texts do you think have influenced your creative choices regarding narrative?

The beginning of ‘The Road’, by how there is a flash back with happiness and sadness. But I will do that in the opposite way and have the sad bit of the movie to show first to the audience and the have the title which will lead to the happiness. 

And,

I have got this idea for m film from ‘Shifty’ and how he has his main problem and his life.

4.   Have you been inspired by the opening title sequences of other real media texts?

The Road and Shifty.


5.   As an institution, what kind of film company do you see yourselves as?

We see ourselves as a small independent (British) film company that specializes in thrillers.

6.   Who is your intended audience?

The age of our intended audience is 15-25, however, due to the large amount of sub-genres, i guess the film will attract younger and older ages.

7.   How might that effect distribution and box office takings?

I think it will be a success to box office takings due to the fact that this age group are the most popular age for cinema tickets.


8.   What technical skills do you think will be improved by the making of this film?

Editing skills. The film contains endless shots and musical effects of various lengths.
Our camera skills. There are a large amount of different locations such as: the forest, houses, rooms, streets, shops and many more...

9.   What difficulties do you envisage?

The main difficulties I think we will face is the length of the clips we should have and possibly the correct locations. We don’t know yet where we could film for the house location because we need quite a modern kitchen to film in.

10.                 Explain how camera angles and editing will help you create tension and what your intended effect on the audience might be?

Sometimes camera angles and editing give a movie that magic touch and creates a attraction for the audience. We will be using a range of different camera angles, such as: close ups, panning shots, medium shots, moving shots, high/low angles, really close up shots (eyes fill the screen). The really close up shots are quite common in thriller movies, to show the detail of the facial expression the actor is trying to show.


Monday, 19 January 2015

Wrong Return: Pre-Production Film


I have finished writing my treatment for my thriller idea, which is about a married couple and the husband is a addict. The wife doesn't know that about him. Because of his addiction everything in his life goes wrong and he doesn't know what to do or how to protect his family.
That was my idea for a film, which I have written out and elaborated on it.

I talked to my group about the film opening and they said it was good, but in the end we decided not to do my idea but combine it with one other persons and we came out with a better sounding movie and film opening.


So the treatment and main story summed up in a short paragraph...


The opening of this scene is set in a secluded forest. It then moves on to show a woman, Angela sleeping in the middle of the woods. The camera starts to zoom in. Suddenly the woman wakes up and gets up. She is confused she looks lost. It cuts to a flash back it’s a man chopping some vegetables. We don’t know who the man is; we presume he’s her husband; however the atmosphere in the kitchen isn’t right. It flashes forward a year. She is walking in a village on her way to work. She looks happier than in both scenes before. She gets a phone call from a police officer saying that he has looked into her case and found a missing poster for her and that she can give her the number and hopefully she can back to her family. She looks nervous but takes the number off the officer and decides to call the number on the poster. She calls it. We see a man answer the phone, he is sitting on a chair facing a wall and on the wall there are lots of pictures of Angela in lots different places with different people. It is clear she is not on the line to her husband, or if she is, do not have an ordinary marriage. It then fades to black and the title of the film comes in with music.


We started writing the story board for our combined film, and we talked about what camera angles we should use, how long the clips should be and if we need more clips or less.
I made a Mood Board for our film which is 'Wrong Return'.

Sunday, 18 January 2015

Oscar Nominations - 2015 (The Telegraph)

BEST PICTURE


BEST ACTOR


BEST ACTRESS



BEST SUPPORTING ACTOR


BEST SUPPORTING ACTRESS



CINEMATOGRAPHY
  • ·      Emmanuel Lubezki, (Birdman)
  • ·      Dick Pope, (Mr Turner)
  • ·      Robert D Yeoman, (The Grand Budapest Hotel)
  • ·      Ryszard Lenczewski and Łukasz Żal, (Ida)
  • ·      Roger Deakins, (Unbroken)
  •  


COSTUME DESIGN
  • ·      Milena Canonero, (The Grand Budapest Hotel)
  • ·      Mark Bridges, (Inherent Vice)
  • ·      Colleen Atwood, (Into The Woods)
  • ·      Anna B. Sheppard, (Maleficent)
  • ·      Jacqueline Durran, (Mr Turner)



DIRECTING



FOREIGN LANGUAGE FILM
  • ·      Ida (Poland)
  • ·      Leviathan (Russia)
  • ·      Timbuktu (Mauritania)
  • ·      Wild Tales (Argentina)
  • ·      Tangerines (Estonia)



MAKEUP AND HAIRSTYLING
  • ·      Foxcatcher
  • ·      The Grand Budapest Hotel
  • ·      Guardians of the Galaxy



ORIGINAL SCORE
  • ·      Grand Budapest Hotel
  • ·      Interstellar
  • ·      Mr Turner
  • ·      The Theory of Everything
  • ·      Imitation Game



ORIGINAL SCREENPLAY
  • ·      Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris Jr, Armando Bo (Birdman)
  • ·      Richard Linklater (Boyhood)
  • ·      Foxcatcher (E. Max Frye and Dan Futterman and Bennett Miller Screenplay)
  • ·      Wes Anderson and Hugo Guinness (The Grand Budapest Hotel)
  • ·      Dan Gilroy (Nightcrawler)



ADAPTED SCREENPLAY
  • ·      Jason Hall (American Sniper)
  • ·      Graham Moore (The Imitation Game)
  • ·      Anthony McCarten (The Theory Of Everything)
  • ·      Paul Thomas Anderson (Inherent Vice)
  • ·      Damien Chazelle (Whiplash)



ANIMATED FEATURE FILM
  • ·      Big Hero 6
  • ·      The Box Trolls
  • ·      How To Train Your Dragon 2
  • ·      Song of the Sea
  • ·      The Tale Of Princess Kaguya



DOCUMENTARY FEATURE
  • ·      CitizenFour, Praxis Films
  • ·      Finding Vivian Maier, Ravine Pictures
  • ·      The Salt of the Earth, Decia Films
  • ·      Virunga, Grain Media
  • ·      Last Days in Vietnam



DOCUMENTARY SHORT SUBJECT
  • ·      Crisis Hotline: Veterans Press 1
  • ·      Joanna
  • ·      Our Curse
  • ·      The Reaper
  • ·      White Earth



FILM EDITING
  • ·      American Sniper
  • ·      Boyhood
  • ·      The Grand Budapest Hotel
  • ·      The Imitation Game
  • ·      Whiplash
  •  


ORIGINAL SONG
  • ·      Everything is Awesome (The Lego Movie)
  • ·      Glory (Selma)
  • ·      Grateful (Beyond the Lights)
  • ·      I'm not Gonna Miss You (Glenn Campbell: I’ll Be Me)
  • ·      Lost Stars (Begin Again)
  •  


PRODUCTION DESIGN
  • ·      Grand Budapest Hotel
  • ·      Imitation Game
  • ·      Interstellar
  • ·      Into The Woods
  • ·      Mr Turner



ANIMATED SHORT FILM
  • ·      The Bigger Picture
  • ·      The Dam Keeper
  • ·      Feast
  • ·      Me and my Moulten
  • ·      A Single Life
  •  


LIVE ACTION SHORT FILM
  • ·      Aya
  • ·      Boogaloo and Graham
  • ·      Butter Lamp
  • ·      Parvahneh
  • ·      The Phone Call



SOUND EDITING
  • ·      American Sniper
  • ·      Birdman
  • ·      The Hobbit: The Battle Of The Five Armies
  • ·      Interstellar
  • ·      Unbroken



SOUND MIXING
  • ·      American Sniper
  • ·      Birdman
  • ·      Interstellar
  • ·      Unbroken
  • ·      Whiplash



VISUAL EFFECTS
  • ·      Captain America
  • ·      The Winter Soldier
  • ·      Dawn of the Planet of the Apes
  • ·      Guardians of the Galaxy
  • ·      Interstellar
  • ·      X-Men: DOFP