'Flightplan' analysis

Plot:
Distributed by Touchstone Pictures and directed by Robert Shwentke, this journeying film is set in mid-air, based from Berlin, Germany. Starring Jodie Foster as Kyle Pratt, a propulsion engineer, whose husband David (John Benjamin Hickey) has died from a roofing accident, leading her to fly home to Long Island alongside her six-year-old daughter Julia (Marlene Lawston) to stay with Kyle's parents. Flying from Elgin 474 - which coincidentally Kyle helped design - Julia eventually goes missing, which leads to the entire plane morphing into a breakdown panic. After falling asleep for a few hours, Kyle wakes up to find t hat Julia has gone missing; although calm at first, after the assistance of Captain Marcus Rich (Sean Bean), air hostess Stephenie (Kate Beahan) and air marshal Gene Carson (Peter Sarsgaard), she eventually realises something is defiantly ad normal, when she checks her daughters belongings, only to find that her boarding pass has gone missing. Marcus refuses to hold the cargo in order for a search due to many dangerous consequences, as well as lack the lack of searchers due to the crew and passengers suspecting the she has just simply became unhinged after her husbands death, therefore resulting in Kyle searching for her daughter alone. Adding to further mysteries, a wire is sent to the aircraft, revealing the Julia died alongside her father from internal injuries. At one point, she eventually escapes to her husbands casket, disappointed to find it empty, which leads the entire passengers believing she is delusional. With the help of Carson, she gets nursed throughout the film, allowing the audience to assume that he is sympathetic. However, when we believe he goes out to search for help, we witness him coding the bomb, next to which lies Julia - answering the subliminal questions of the film. Carson then adds to his menacing plot, by revealing he is working with the previously kind Stephenie, as well as telling the captain the Kyle has revealed that she is a hijacker, and is threatening to blow up the plane with explosives hidden in her husband's casket - unless $50 million dollars are transferred to a bank account (to which is secretly Carson's.) However, it is revealed that these 'baddies' in fact murdered Kyle's husband and abducted Julia, therefore showing they are behind the terrorist attack. Once this is revealed to Kyle, she escapes and manages to get to the bomb in time, as well as save her daughter - alongside the entire aircraft. An emergency landing follows, leading the unknown passengers to put across their apologies, as well as realise that they should not make assumptions, and perhaps acknowledge what all individuals have to say. Unknown to all of this, the innocent daughter wakes up after landing, simply asking her mother; "Are we there yet?"
The film grossed $223 million dollars worldwide, as well as being described by Roger Ebert as "a frightening thriller with a airtight plot."

Opening titles:

• Fast-paced, 0.5 second long-shot of moving train. Blue and green colours shown in high-key lighting, which help emphasize the fast-paced thriller and transport
• Cuts to black background, with straight, white text - bold and thin - and contrast in order to emphasize distributors names.
• Shot-reverse-shot of movement of train, whilst writing dissolves over and fades into background image - then fades black
• Repetition of this twice
• Happens again, until revealing main role - Jodie Foster. Her name lingers for longer (approx 4 seconds) and fades out within itself. The fade effect is likewise to movement of trains, as though fasting up then disappearing. The use age of disappearing is likewise to the omen of her child.
  
  Camera shots:
  
• Establishes on a long-medium shot of Jodie Foster sitting at a train station, looking on from behind. The use of opening with a train hints at journeying
• We then slowly pan for approximately 6-7 seconds - slowly towards her, focusing on her taking up two-thirds of the shot, when the title 'Flightplan' appears on the left in white. They flicker, hinting at a flight taking off and disappearing. It appearing white is the typical colour of aeroplanes
• The shot then cuts to the perspective of her from the front - from a medium shot- whilst she takes up half of the frame. This shows her reaction which is worried and focused upon a single spot. As we slowly track towards her we notice her eyes are glazed, showing she's in shocked/frightened
• Cuts to an establishing shot of a morgue, which reveals a coffin in the centre of the frame, showing it is the core of the scene. She is near the camera, showing a wider space between them, although with reluctance, adding to her mood.
• Cuts to a fast pan, moving to the left, which shows a blank wall, which could reflect how she feels. It continues panning to herself, revealing her reaction, which is startled and uneasy. A long corridor is revealed to her right, which is long and bleak, representing her dark thoughts. The man then shuts the door, closing her in - both physically and mentally.
• An upclose of a mans hand is then shown, where he reveals a helping gesture, panning quickly up to show his reassuring face. A close up of her reaction then follows, revealing a false smile. This has been shown in shallow focus, to emphasize her reaction.
• A master shot of the station then follows, revealing the destination. Jodie Foster and her companion are in the bottom left corner - out of the way of the scene - which shows the loneliness of them both.
• A closeup, longshot of the train speeding by follows, as it speeds by the camera. This domination of the train reveals that transport may be a large motif of the film. More titles are shown on this cut, from the bottom left corner, as they reflect onto the train, making it effective visually. It also adds to her reflecting her thoughts as she deals with a traumatic time. The camera slowly tracks towards he end of this shot, as the train has disappeared down the tunnel.
• Cuts to her back in morgue, revealing her from a longshot from the side. This shows the large divide between her and the casket, although she slowly moves forward, showing she's not as frightened and courage is seeping out. It may also relate to the plot of the film; her getting closer to the truth
• Cut in shot from low-level and behind her, which reveals a medium shot of the base of her dripping umbrella. This creates some tension, as though they could reveal her dripping thoughts.
• A longshot from behind the coffin follows, as the camera slowly zooms in. It appears almost over the shoulder, but from over the coffin. It's quite a foreboding shot, hinting that someone may be watching. Her reaction is clearly frightened.
• Cuts to a medium shot of the train fastening its pace, which could connote her thoughts churning faster. The camera pans to the left, turning into a low-level shot, making herself and her friend appear superior; they may be in control of their thoughts and feelings now.
• A long shot of them both walking down a low-key lit street, which instantly changes the mood. The camera pans left, now shown from behind a window, which - although innocent at first - has turned quite morbid between the one shot, stressing that someone may be watching them both. As the camera pans left, viewing them through a scratched window, a focus pull is used, letting the camera focus on the messy surroundings.
• Cut to an eye-level shot of a previous man at the morgue at a door, to her answering. Shot reverse shots follow, as we acknowledge their conversation. They have been shown in shallow focus, in order to show them as the main feature of the scene.
• Low-level man on stairs, with a 180 degree rule of Jodie
• Up-close reaction, then a long shot over the shoulder of both individuals walking away.
• A long-shot establishes the courtyard, showing their place
• A low-level cut of the man wiping snow, which appears to hit the camera - blurring out everything
• An aerial upclose of her reaction, which shows cause and reaction, to a birds eye view revealing crows in a tree, flying away.
• A flashback follows, which reveals her husband in his casket, from an aerial shot. This emphasizes his appearance
• A master shot concludes this opening, as it tracks slowly away from a crane camera, revealing her alone in the courtyard. This shows how alone - both physically and within her thoughts - that she is, with the Director's title typically ending this films establish.

Edits:

• Fade from titles to film
• Flashback - from morgue to station to other thoughts. This is a typical thriller convention
• Mainly cuts between shots
• Credits end on a dissolve from courtyard to plane - lights circling childs room. This is an omen for planes to come, as well as a reminder for the travelling theme

Sound:

• Diegetic sound of train whizzing past - echoes in between titles and becomes loud again once shot repeats.
• After happening twice, a shocked sighful sound of a women's voice can be slightly heard, relating to the lead role. Train round continues
• Third title - train sound fades away into a piercing echo, and its screech can be heard
• When Jodie Foster appears, the train sound fades, and an almost plane-like sound is heard over the top of the fading train
• This fades as the film starts. Diegetic sound of two doors opening, as well as slow, non-diegetic xylophone sound begins, which adds to a mysterious element
• A foreboding synth is then introduced, which sounds like an echo, as well as violin solos starting which makes it sad and thoughtful. On top of this, a distant hissing is heard, which may relate to her uneasy mood. A slight ambient sigh comes from the characters mouth, adding to this
• Ambient sounds then follow (such as a door opening, heels against the floor echoing and speech), as well as violins, contrasting the two sounds to appeal to the audience more. The violin sounds are slow and lingering, but gradually get louder, which corresponds with the stress within the piece.
• The music continues, showing a use of soundbridge, with a slight gradual synth. This lingers as she boards the train, adding a foreboding sense.
• When the upclose of the train is used, the screech of it is overpowering, showing that travel may dominate this film
• Once entering the room again, ambient footsteps can only be heard, as she gradually nears the coffin. However, the creepy use of xylophone increases, alongside the lingering synth sounds, which converge into the next shot of the fastening train
• When walking outside, a thoughtful, piano solo lingers. The lingering makes us believe that not is all as it seems, converging with the plot of the film
• A flashback is then featured, showing the ambient sound of their voices within a conversation
• A piano then plays when they are shot back inside, with the sound of a xylophone lingering, hinting at hidden danger. The door then closes loudly, abruptly closing, which could hint at sudden unexpected events. A soundbridge is used as the score continues, although a diegetic sound of screeching crows is heard, continuing the dangerous emphasis
• We return to the morgue, whilst the soundbridge continues although an electronic synth is heard. When the coffin closes, this dominant closure sound takes over the scene, showing it is significant. The sound of it closing echoes, disappearing into her mind, as she is shot outside again. This shows how this memory is lingering within her mind, and is almost haunting her. It also hints at her memories disappearing, as well as an omen for the girl vanishing in the film
• As the camera pans out from her in the courtyard, there is an emphasis on the bizarre, harsh, digital sounds, juxtaposing with the thoughtful violins. This then fades into it disappears, going into the next scene

Mise-en-scene:

• Trains whizzing by, with speckled white/green/blue colours. They are harshly bright, making it difficult to see. This could connote difficult situations throughout the film
• Bleak colours are shown in the station - green, grey, white - which contrast with the luminous yellow train. The yellow could connote happiness, as two of the doors open together in front of Jodie, almost giving her access to a happier life. They could also connote two routes/paths to take
• She's wearing plain, black clothes, which show her as negative. However, she looks quite formal, but her clothes are tightly fitted and show now flesh, therefore almost reflecting an uptight, protective character. She appears fragile, as she's wearing no make up and has a washed-out sense
• A sign has been displayed in shallow focus behind her, hinting at her foreign destination
• The morgue features various lights lined up above the coffin, highlighting its significance. The room is quite plain and scientific, which shows it is important/professional
• The men's speech hints at being foreign, relating back to the films destination
• Her friend is also in black, showing negativity. A row of lights are next to him, as well as his reaching hand suggesting he may lead to happiness.
• When train flies past camera, the yellow dominates the screen, but leaves a dark bleak tunnel when it disappears. This could represent her life; how happy it previously was but is now bleak
• From the medium shot of her facing coffin, the right hand side (her side) is mainly low-key lighting, emphasizing her mood. However, as we reach the right, it gradually lightens up, showing happiness could be ahead of her, although she doesn't feel it now
• The dripping umbrella could show pathetic fallacy, as the morbid drips show her mood.
• She is shown standing still, but then the train speeds - this could show her speeding, racing mind
• When going upstairs, the clock is glowing. This emphasizes that time is a main motif. A foreign plaque is reflected, emphasizing she is somewhere possible unknown, highlighting she is alone and isolated
• Low-key, bleak lighting is shown outside, also showing mood, as well as within the house. He's above her when he's on stairs, hinting that men may be superior in this film. The door abruptly shuts, showing she's been shut out.
• When the crows fly away, they could be an omen for planes to come. The snow outside could represent her could thoughts, as it pours down. The aeroplane lights then finish the opening, which adds a childish twist to the plot as this innocent character is introduced.

Film Noir!

What is Film Noir?

Film noir is, overall, known as a Hollywood crime drama - due to the emergence of criminal fiction during the depression in the United states. Generally noted and popular from the early 1940s and late 50s, although still being produced in small quantities to this era. As said, it usually features low-key black-and-white visual styles, known from German roots through cinematography, the term film noir is rooted from the French term of 'black film'. It relates to the classic era of film, as well as cinema historians stating that one main convention is of it being told in retrospect. Although widely acknowledged as the film noir genre now, previously (before the 1970's) these classic pictures were refereed as melodramas. Although is may be obvious, critics have an ongoing debate of the actual definition of film noir, due to its various qualifications.

The main plot usually has many conventions - such as a central figure - such as a private eye, a policeman or a criminal - such as in films like 'The Big Sleep', 'The Big Heat' and 'The Set-up.' Originally - likewise to these films - film noir was produced from American Productions, but throughout history from the 1960's has eventually led to being recognized throughout the world. Although recent pieces may not be recognized as such 'classic' pieces, these latter-day pictures are usually referred to as neo-noirs.

Conventions of a Film Noir:

• Black and white (low key lighting)


• The dark world, the protagonists are in - hides feelings/motivations


• Femme fatale (usually married but may want to get rid of husband - has loose morals


• Often told in retrospect - use of voice overs and flashbacks


• Often has a twist - unexpected ending


• Usually set in an urban environment
  
• Mostly B movies literally or in spirit (e.g. featuring a little known cast)

History of Film Noir:

• 'Stranger on the Third Floor' (1940) - noted as the first established film noir picture


• 'Double Indemnity' (1944) - after studying the opening in class, I researched the film independently. This is an American film, directed by Billy Wilder, starring Fred MacMurray, Barbara Stanwykc and Edward G. Robinson. The film has been adapted from James M. Cain's 1935 novel of the same title, based on a 1927 crime. The 'femme fatale' within this picture persuades her boyfriend to kill her husband, due to greedily wanting a big insurance policy - 'wanting a double-indemnity clause.'


• 'Kiss Me Deadly' (1955) - this is a classic example of a private eye playing the lead role. This film is based on a novel by Mickey Spillane, known as one of the best-selling authors of the era. However, from here on, this leading role declined, due to a change in noir's focuses.


• 'Touch Of Evil' (1958) - By some critics, this film is noted as the last noir of the classic period. Orson Welle's - a well-known noir directer and actor, directing films such as 'The Lady From Shanghai," (1947) which received top-level support - highlights the morally corruptive underworld of crime.


• 'Le Doulos' (1962) - this is an example of the film noir genre contrasting from the mainstream American norm and being acknowledged globally. It is an example of the many minimlist, classic film noirs, such as 'Le Deuxième souffle' (1966), 'Le Samouraï' (1967), and 'Le Cercle rouge' (1970), all directed by French Jeanne-Pierre Melville.


• Examples of more foreign noir films include Il Conformista (1969; Italy), Der Amerikanische Freund (1977; Germany), The Element of Crime (1984; Denmark)


• 'Cape Fear' (1962) treats the theme of mental problems within stylistic and tonal frameworks derived from classic film noir.


• 'The Long Goodbye' (1973) - director Robert Altman flipped noir into a diverse direction. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in an iconic fashion: Philip Marlowe - typical intense detective - is replayed as a hapless misfit. This is almost laughably out of touch with contemporary mores and morality.


• 'Taxi Driver' (1976) - previously analysed, this film is a personal favourite of mine. Directed by Martin Scorsese and screenwriter Paul Schrader.


• 'Raging Bull' (198) - also directed by Scorsese and co-written by Schrader, which is known as an acknowledged masterpiece. It is one of the first known neo-noir productions, as well as being noted as the 'greatest film of the 1980s' as well as 'the fourth greatest of all time.'


• 'Basic Instinct' - (1992), directed by Paul Verhoeven and written by Joe Eszterhas. This is one of the few neo-noirs who have made more money or updated noirs traditions. It also demonstrates how how recent films can produce the expression through effects of classic black and white


• Some examples from the noughties include 'Memento' (2000), 'Insomnia' (2002) and 'The Dark Knight' (2008)

How the opening of a Film Noir differs from todays mainstream pictures:
- I analyzed the opening titles of a noir film called 'The Postman Always Rings Twice', to which we viewed approximately 20-30 minutes of in class. Whilst watching this, it became obvious that this 1946 film directed by Tay Garnett contrasts from the norm of today, simply from the sound, picture and roles. However, once inspecting the opening closely, we can realise that this film differs:

• Instantly, a shaky camera opens up the clip, showing that compared to today's sometimes animated pieces, technology was lacked within this era. Also, a steady cam was not used, added to it being thought as unessential within those days


• Shown in black-and-white. This is typical of film noir


• The logo for 'Metro-Goldwyn-Mayer presents' - firstly with their typical lion logo, emphasizing it's famous and well known (this may be a successful film.) The music features loud, booming drums and excessive trumpets, showing it's a large and serious film. The next shot then fades to the same distributor, but with writing - with bold writing for the distributors, appearing for a longtime on the screen. Although this may be to make it foreboding, it is almost as though the editing skills are lacked in those days


• A dissolve is used to show more of the distributors logo, likewise to today. The background appears like carpet, showing that their skills lacked in that era, therefore hinting at them reducing their mise-en-scene - keeping it simple


• The music at this point consists of trumpets and cymbals, which are lingering, adding a foreboding sense - hinting to the narrative of the film


• A sound-bridge is then used, with larger letters emphasizing the main roles. These letters are bold and white, contrasting the background so they are highlighted. The woman is first, relating to femme fatale.


• A dissolve is used again, to a book stating "In 'The Postman Always Rings Twice' A NOVEL BY JAMES M. CAIN." This highlights the background of the film, as well as synergising both the book and the picture. The "In" is written in italic writing, showing the old fashioned text of a film within this era. The book includes a wave-like effect, hinting at parts of the film. Distributors and the films background producers have been inserted into this shot, although niche to the eye, therefore highlighting that these were viewed as less important to the audience during this time.


• The shot have been shown through low-key lighting, with dark edges and almost spot-light effect upon the title, to highlight them


• The score is rather dreamlike and romantic at this point, as violins take over. This shows romance is significant within the film


• Dissolve of titles over previous shot to shot actors, followed by producers and more titles, whilst the music is higher in pitch


• A dissolve of credits almost covers the screen, over the previous shot. This has a lot of information, as well as distributors logos placed minutely at the bottom. Contrasts norm of now - usually placed separately so audience can acknowledge what goes on behind the camera. Maybe viewed as less important during that era. However, this lingers longer, showing time to be read.


• Dissolves to cast - even though previously said, had been slotted in again. Possibly a reminder, or maybe - as already said - the editors were not as advanced during those times. They don't appear to acknowledge it comes across more tedious during this era/ At the bottom of this shot, a message has been broad casted to the audiences, considering their opinions and feelings upon characters supplied within the film. This could show that audiences were more serious during this time, or that they were easily offended by films.


• The typical convention of the Director appearing as the last title is featured, too. This shows that this stereotype has continued throughout the years, showing a similarity. This shot then eventually fades to black, fading into the film.


• The overall title last for one minute, 14 seconds. The shorter titles last approximately 3-4 seconds, whilst the longer lasting titles last approx. 12-13 secs
  
  

Here is a print screen from the opening title of this film:

Analysis of the opening of 'Falling Down'

Falling Down clips of opening sequence from http://www.artofthetitle.com/



(towards the bottom of the page on the website,, the 'Falling Down' video can be viewed)

I viewed the opening 'Falling Down' in class, which interested me to study it further. Going on to research it alone, I became intrigued and went on to analysis the opening sequence. I am interested in viewing the film, due to the plot sounding like a thrilling watch.

Plot: Directed by Joel Schumacher in 1993, this American film follows William Foster (Michael Douglas) play a depressed divorcee, unemployed former defensive engineer who has had enough of his life and goes on a violent rampage through Los Angeles. Throughout this, he reacts to violence through mocking observations on life, poverty, the economy and commercialism - even attacking a grocery store with a baseball bat, to firing a gun in a fast food building due to pure frustration; all in order to make it home in time for his daughter's birthday party. From this, he is tracked down by Martin Prendergast (Robert Duvall), an aging Sergeant who on the day of his retirement is made to track down Foster. However, due to the determination of the case, he eventually pulls back on his retirement, through the realisation there is more to his occupation. Distributed by Warner Brothers, this film grossed over $40 million, as well as being number one at the Box Office in its first two weeks of release. The title of the film refers to Foster's mental collapse, as well as nursery rhyme 'London Bridge is Falling Down', which is a repeating motif throughout the film.
FUN FACT: Ironically, whilst the film was being made, the Los Angeles riots of 1992 broke out.

Opening sequence:

• Opens up on a black background, with bold white letters as titles, as this emphasizes them. There is a combination of broad and slim letters, which highlight the important distributor. No sound is heard, which makes this opening foreboding. This lasts for approximately 19 seconds, intriguing the audience.
• The scene begins on an extreme close-up of a mans teeth, as the camera zooms out at a fast-pace, revealing his mouth. From here, we hear a wave of his breath, with hints at a sighful, frustrated tone. It is the only sound audible. We then witness heavy sweat on his upper lip, as well as his face quickly being revealed, as the camera tracks out fast. Once his eyes are revealed - emphasizing worry, as his eyes are magnified behind large, geeky-looking glasses - we pan to the right quickly, showing him from a side perspective. As this happens, the titles continue, with the leading role - 'MICHAEL DOUGLAS' - (the man being shown) stretched across in white, contrasting from the surroundings of the shot.
• It slowly tracks away, revealing more of his face, hair and shoulders, revealing him as a business, geeky-looking man. He has been shot in shallow focus, with ambient lighting, emphasizing him and his reaction; he is the core of this scene. However, we can recognize that he is inside a car, which is full of bleak colours, adding more to his bored mood, as well as an American flag in the background, which could hint at hope as well as terrorism. The title of the film is now here revealed, lingering for 4-5 seconds, stretched and also in block white, due to the focus being on the surroundings of the shot.
• We slowly pan away from him, outside of the window and towards the front of the car, giving us a front-on shot. From here, we can now see more cars around him, highlighting that he is stuck in a traffic jam, due to no movement, which explains his stern expression. They are slightly out of focus, also adding to him being the main core of this shot. He appears distressed - almost panting - which shows he is uncomfortable.
• He goes on to close he eyes, almost as in frustration, whilst the camera tracks his sight downwards, revealing his tense hands on the steering wheel. The shades of the car - brown, cream - parallel his bleak life. As the camera tracks, a slight menacing, non-diegetic sound is heard, which is almost mystical and questioning
• The camera then tracks slowly to his eye level perspective, showing his view of the car in front. Smoke is coming from behind it, connoting his hazy life, as well as him smelling rusty air. The camera zooms into the cars window, revealing a girl staring at him intensely, which represents him feeling constantly watched and pressured throughout his life. The camera continues to pan, revealing more cars, as well as them being roofed within a bridge, highlighting him feeling enclosed. A light is shown within the distance from the end of the tunnel, which is underlining for a possible positive ending or selective happiness for this individual
• The camera continues to pan along to the right at a slow-pace, showing a bus filled crammed with children, who are screaming and throwing objects out of the window. Bag have been rammed on top of the bus, crammed together also, both connoting his pressured and crowded mind. As the camera carries on, the American flag reappears, although taking up at least two thirds of the shot. Therefore, his America Dream may still be lingering, but he may possibly feel others are ruining it or getting in his way. This relates back to his previous bored persona, due to him maybe unable to retrieve his dreams as he is stuck in a rut. The camera continues, as the flag reflects onto a cars bonnet, emphasizing the American icon and its meaning. More trouble is found within this car, as two men argue, which shows that trouble is all around him. However, as diegetic noise is the main focus - as typical car noises can be heard, such as a car's radio - he only focuses on these, unable to acknowledge his own thoughts.
• As the camera continues to be held by a crane - due to the mass amount of space and no amount of cuts used, therefore focusing upon the mise-en-scene rather than edits - a longshot of stacked cars are revealed, stressing the traffic and the long journey (both physically and mentally) he may have before him in this film
• The camera then pans back towards the rear of his car, so we retrieve his perspective and recall that he is the focus of this scene. He contrasts all the other noisy, boisterous people, appearing to sit calm although we know from the previous opening he is in fact possibly the more distressed. Credits are shown throughout this slow but effective opening, lingering for about 2 seconds each with a 1 second gap.
• The first cut of this opening is of him from the front, of a medium shot, slapping a fly (we know this from the diegetic, buzzing sound), which represents his broken irritation. As well as this, his knuckles have clearly tightened around the steering wheel, hinting he may be able to break at any moment - relating to the plot of the movie
• This opening sequence lasts for 2 minutes, 18 seconds.

Opening analysis of 'Se7en'

Opening credits of Se7en:



Link to opening credits:
http://www.youtube.com/watch?v=SEZK7mJoPLY

The film 'Seven' - which has been stylized as 'Se7en' - was directed by David Fincher and written by Andrew Kevin Walker in 1995. The plot follows a retiring detective Mills (Morgan Freeman) and his replacement Somerset (Brad Pitt) worked together in order to investigate a series of bizarre and grotesque murders the match by inspiration of the seven deadly sins. In relation to the religious sins, they find a series of bodies with notes and inscribing attached to them or near them, such as LUST and PRIDE, which once investigating the individual, they realise their deaths relate to these themes. They come to realise that Doe (Kevin Spacey) is behind these horrific crimes, as he gives himself up to the FBI, with his explanation being of 'showing people what the world is, and what they deserve.' He also believes he will be 'admired and remembered' for years to come, which is churning to view as Spacey's performance is so hard-hitting, due to his tone being one of complete innocence, as well as his expression of normality.
Within the finishing scenes of the film, the three individuals travel out to the desert, under Doe's orders. A van appears, containing a package, to which Mills opens, finding Somersets' wife's severed head. From this, the grief-stricken Mills shoots down Doe, after it is revealed that his wife Tracey was pregnant, which completes Doe's sin of ENVY. On top of this, due to Mills taking a life from pure rage, the sin of WRATH completes the film. The picture ends with Somerset thoughtfully reciting Ernest Hemingway's 'For Whom the Bell Tolls': "'The world is a fine place and worth fighting for.' I agree with the second part." This film is a terrific thriller, as it is uncomfortable but addictive to watch, as well adding a hint of horror conventions, with bloody scenes, severed corpses and enough shocks that have the viewer jumping out of their seats.
Here is my analysis of the opening sequence:

• The first six seconds of the opening is an up-close shot of a large book, which has spread out pages which may hint at a religious theme, due to the Bible being large. However, the shallow focus of the book in comparison to the hand adds an eerie sense, as the pages are slowly turned and linger in the air. On top of this, the music is eerie and constant, with a synth holding the pace, adding an echo effect. On the bottom right of the shot, the titles appear, reading 'New Line Cinema Presents', which is presented in scratchy, etchy writing, which almost doubles in focus. The music sounds as though it has been conducted on a synth, as a ticking, dreary sound is heard. The overall opening shot is freaky and instantly adds a frightening atmosphere.
• The shot then cuts to black, showing varied slow-paced titles with the same scratchy writing, adding to the iconography of the film. Some of the titles are thick printed, whilst other contrast into thin, wiry letters. This is done to highlight certain areas of the titles, as well as being an omen for the writing motif to come within the rest of the credits.
• An aerial shot in low-key lighting shows a detailed sketching of creepy, spread-out hands, which hints at crime, although is most likely related to the stalking character. The notepad hints towards more writing, which may be a main theme throughout the film. The shot is darkened around the sides, hinting at enclosure, as well as a black space showing the white credits. A dark figured shadow passes this book, emphasizing a lingering, watching individual within the film. This is also aimed to scare the viewers. The music continues to droan, although it begins to wavy in audio.
• A fast-paced montage of three clips follows, featuring shots that relate to guns, which underlines crime. In relation to typical thriller conventions, crime is usually diluted, therefore hidden well in these clips
• Shot-reverse-shots are now featured, which go from a blank canvas including more scratchy, lingering titles, to interruptions of criminal-related scenes and books. These fast-paced images only last for 5 seconds, therefore stressing the pace of crime within the film. The non-diegetic music here fastens, as the ticking-timer sound fastens up. This could connote that time is running out, as well as a muffled heartbeat.
• A montage of extreme close-ups follow, which feature a blade, to it then being fingered, as well as a slight cut as part of the individuals skin peels off. Once As this happens, a almost scream-like pitch is heard, therefore emphasizing pain is to come.
• The shots then juxtapose to a slow-pace, as they are hard to acknowledge and appear morphed, connoting strange happenings. (For example, a photograph being stirred in water in shallow focus, to what appears to be water running.) I notice at this point that bleak colours are featured throughout, therefore hinting at the mood of either the film or individuals within it
• The title is then showed, lingering on a blank black background for the longest time period in comparison to the other lettering's. It extends larger after hovering, as well as flickering scribbles paralleling it. The title then dissolves onto a ambient clip, hovering for approximately four seconds, after fading with the panning of a book, which then opens. This may show that cases are to opened from the inspectors, with the title revealing the case - the 'Se7en' deadly sins.
• Various shot-reverse-shots then follow; from more titles to more books turning pages. Large letters are presented onto this clip, although vertical, which is sideways and likewise to the titles. The repetition of a book is ambiguous, either hinting at a religious reference or a criminal case
• An up-close shot of a page from the side is then presented, as someone writes information down. This same image is then repeated - almost like a dissolve effect - onto the same clip, giving a distorted feel. Therefore, distorted meanings and readings may be placed throughout the film, as well as the emphasis of the mass amount of words highlighting the confusement of the film. A hand then blurs other the top of this, hiding the individual, who is most likely the criminal; therefore, their identity will be hazy throughout the picture
• A cut of a book being written in is then displayed, although the shot has been filtered red. This highlights evil and blood. However, a focus pull lures the image back to reality, therefore showing a falseness of the criminal within the film
• An aerial shot follows, showing somebodies hands slicing up a film, which then cuts to it being stuck down into yet another book. This underscores the psycho, stalker label, as the repetition of books and documents shows someone recording various peoples events and live's. A montage of a scrapbook is featured, adding to this, with props such as clingfilm, tape, scissors, the person gluing them down and cutting out letters, adds to a certain weirdness of this film.
• As the credits continue, half second shots are featured with higher pitches, emphasizing weirdness. One particular shot is of someone holding a piece of paper, which has scribbles and information covering it, although a slight amount of blood is dripping from the bottom. From this, we learn pain may be inflicted. High key lighting is then used on the next cut, which shows a close up of a page from the side, with a shadow of a hand lingering. This is foreboding, as though someone is awaiting somebody. At this time, screechy, high-pitched music is heard - possibly connoting a scream?
• Again, a montage of images are used, in order to condense time, space, meaning and information. The repetitive using of this highlights the deeper core of these particular images, as they highlight crime, pain and danger. An unusual document int erupts these fast-paced passages, with an extreme close-up of a text discussing 'chemicals and pregnancy' - which is bizarre within itself, therefore elaborating the weirdness of this film. Parts of the text are highlighted with black, disclosing certain areas, with the music becoming higher once again. The shot then dissolves into the previous image of turning pages, which shows the events will 'turn'.
• A shot that can be highlighted is one with an unusual photograph of an individuals face within the top-right hand corner, which then shows an individual drawing over their eyes. It then jumps to their entire face being scrawled over, which is also bizarre and slightly peculiar.
• An extreme close up of an individuals finger places menacing pins into a book is threatening, hinting at more pain. The individuals hands are quite grubby looking, with their fingernails appearing dirty, as well as a bandage on one finger adding to post-injury. After watching the film, we can acknowledge that this individual is in fact Kevin Spacey's character, due to him injuring his hand. Therefore, this adds to the isolation of him, due to him collecting all of this information alone. The repetitive use of fingers and hands shows he is hidden and will not disclose himself, only revealing minor segments - likewise to the film
• This image then fades into a bright, high key light, therefore blocking out his identity. As well as this, an up close of a needle interrupts his session, followed by the same shot of his hands sewing thread into a book, which connotes his care into his crimes, as he is able to hide himself throughout the film. The opening sequence finishes on a slow pan of a row of books, which show they are an important aspect to the film. These rows of books contain the files of people, to which he has been conducting throughout this opening. The music fastens up here, until it ends on a distorted voice, which - although it may be part of the films score - could be the psycho's bizarre state of mind being presented. The overall sequence concludes on a loud drum beat, showing no conclusion.

Opening sequence of 'Taxi Driver'

Opening credits of Taxi Driver:

http://www.youtube.com/watch?v=SWTv8toR3Ug

Plot: 'Taxi Driver' is a 1976 film directed by Martin Scorsese and written by Paul Schrader. Set in New York - soon after the Vietnam war - we follow leading man Robert De Niro (Travis Bickle) play the role of a depressed and lonely man, who provides his parents with the false illusion that he is happy and healthy - as well as living the successful life of that of a government employee. Instead, he has resulted in becoming a taxi driver, to which helps him cope with his chronic insomnia. Whilst spending his days in seedy porn theatres, we follow him working 12-hour shifts almost every night of the week, travelling through the five boroughs of New York City as he meets a range of bizarre passengers. He eventually develops feelings for campaign volunteer Betsy (Cybill Shepherd), who works for fictional New York Senator Charles Palantine. Although he joins this volunteer group to focus himself into something rather than his pounding thoughts of no sleep, his thoughts begin to turn violent, due to his disgust towards petty street crime - such as the high motif of prostitution within this film - which leads to his mood swings deepening. From his eternal insomnia and rage towards the outter world, he begins and program of intense physical training. As well as this, he even buys four various pistols from an illegal dealer, leading to the iconic mirror scene - "you talkin' to me?" Eventually, he even shaves his head, highlighting the brink of his madness.
Although appearing negative, his stronger traits are highlighted, as he help a run-down grocery store by dealing with the robber, to attempting to take in 12-year-old prostitute Iris (Jodie Foster), who he picks up one night in his taxi after attempting to escape her pimp, Sport. Violence is emphasized within this film, as he attempts to assassinate Senator Palantine, as well as shooting Sport and his bouncer. Although from reading the plot the film seems morbid, its ending has ambiguous endings, due to him receiving appreciation of Iris' parents, as well as him appearing almost happy within the final scene. However, although he may have escaped criminal records and an unhappy life, these could be interpreted as his dying thoughts; wishful thinking.
Told in occasional narration from Bickles' diary, 'Taxi Driver' ties within a series of other films - such as 'American Gigolo', 'Light Sleeper', and 'The Walker', which make up a series referred to variously as the "Man in a Room" or "Night Worker". Featuring Harvey Keitel and Peter Boyle amongst others, this film received four Academy Awards, which included "Best Picture", as well as winning the Palme d'Or at the 1976 Cannes Film Festival. Its unique plot makes it a tense watch, as well as its ambiguity, strong characters and subliminal edits make it one of my personal favourite motion-pictures of all time.
Although not a harsh thriller - to which I am focused on producing for the opening of my film - it is a drama/thriller, which falls under my selected categories.

FUN FACT: The film gained notoriety once John Hinckley, Jr. confessed that it was his obsession with Foster's role that made him attempt to assassinate Ronald Reagan in 1981.

Opening Sequence:

• The opening titles begins with a black background, with the distributor - 'Columbia Pictures' - situation in the centre of the screen, presented in large red letters. The red letters may represent rage, blood, horror... It contrasts with the background and is quite eccentric, especially in comparison to the silence of the opening, adding to the questioning feeling. Another title follows, lasting for about 4-5 seconds each, making this opening slightly more foreboding. After this second title - stating the leading role, 'Robert De Niro' - and after approximately 12 seconds, the movies score begins. The ambient scenes then begin, as the black background dissolves and the sound bridge fastens in pace, being quite dreamlike.
• The opening long shot last for 12 seconds, opening the film with a mass amount of smoke absorbing the screen, to what appears to be a street. Music begins, although at first quiet, being of only saxophones, hinting at a Jazz score of the film. A taxi then slowly enters from the right, covering the whole screen, underlining its superiority. Due to its dominance, it suggests it takes over the entire picture, therefore hinting work will take over De Niro. Its yellow colour is instantly recognizable, due to the stereotypical New York yellow taxi's. The movie's title is then revealed, as the cab continues to drive and reveals the letters of 'Taxi Driver'. Its letters are in bright yellow neon, also indicating the typical norms of the vehicle On top of this, the word 'taxi' is American, highlighting the origin of this film. The change of the titles colouring shows a change of mood throughout the film. Behind these letters we see that this shot has been taken from long, showing various blurry lights in the distance - highlighting a street, which opens up this is situated in a suburban area.
• As the taxi disappears to the left of the screen, smoke takes over the entire shot, highlighting haziness and uncleanness. This may relate to De Niro's character being unable to sleep, showing he feels obscure about his life due to his illness. Titles then appear, first on the right, stating more actors' names. These are also in neon yellow, with an almost angelic shine around them. As one title fades, another one the left appears, going on to fade whilst another on the left appears, and so on. This continues for approximately 12 seconds, continuing for 2-3 seconds each. This give the illusion that they are morphing in and out of each other, which could show the different people that come and go from the leading role's life; likewise to passengers within a taxi. They could also represent his various attempts of trying to grasp onto something - such as save Iris - but failing miserably, only to try again. The saxophones loudness increases, as their tone goes up and down- relating to the mood, as well as harsh drum beats emphasizing annoyed tones.
• A fast-paced fade then opens the next shot, showing an extreme close-up of Robert De Niro's face, focusing upon the upper level of his head. Lasting for a timely 11 seconds, we view him looking around slowly, as he appears spaced out and slightly confused. This shows him dealing with his thoughts, as it stresses his main level of mood throughout the film; being perplexed and bewildered, with a tone of agitation. He almost appears isolated, unaware of where he is; the city of New York may confuse him. Using De Niro as this role was ideal, as his tight eyebrows and creases on his face show his tiredness and worry. The use of low key lighting also adds to his emotional tone, as his core is mainly darkened. This gets interrupted by a neon light, emphasized the business of the city, highlighting his main activity; work. More titles continue over De Niro's face. The drum beat comes to a halt, as a saxophone solo takes over, showing a dreamlike, soothing tone - relating to his need for sleep.
• The sequence then fades onto the next shot, which shows a medium cut from inside a car - presumably a taxi. We are looking out into the street, although it is hazy and unsightable due to the heavy pour of rain, emphasizing his worn-down thoughts and struggle to sleep. It may also highlight a side-effect of little sleep - poor eyesight. An attempt is made to clear away the water, as window wipers try to wipe it away, although the rain keeps coming back, connoting that his troubles won't go away. With low key lighting used for inside the car (as this blocks out his troubles) whilst shallow focus of the light outside blurs the lights, morphing them together, giving a messed up illusion. The drum beats harden, although focusing on cymbals.
• The shot then dissolves into the streets of New York, opening up his outter world. A gradual stretch, focus pull effect is used, showing his weariness, boredom and tiredness as he tackles his insomnia as well as his gruelling 12-hour, tedious shifts. The image then blurs until it is too hazy to witness - lasting for about 20 seconds - which shows that things will gradually worsen throughout the film. Whilst the dark night above shows more yellow titles, being of a reminder we are still travelling by a yellow taxi.
• The shot then dissolves to people crossing the street in a slow-paced action, adding to more sights he will witness. However, the use of slow-pace connotes his sluggish mentality. More smoke is now used, emphasizing that things are to get more foggy around him. Also, it shows that throughout everything he does and sees, he cannot focus thoroughly due to his problem
• A shot-reverse-shot shows De Niro's eyes again, although his eyes now pan more slowly - from right to left - with the use of a red tint over his face. His slowness shows a slight demention, whilst the red suggests inner rage. His face then dissolves to smoke, and the opening is concluded. This indicates his insomnia may eventually be too much for him, eventually worsening and finishing him off. The cymbals and drums come to a halt once again, focusing on a saxophone solo. This solo, again, hints at his desire for sleep, as well as shows his seriousness.

Conventions of a Thriller

After studying Bryan Singer's 1995 neo-noir 'The Usual Suspects', we summed up as a class the typical conventions of the thriller genre. From this, I have learnt to understand that certain aspects are expected from thrillers, therefore helping me identify these within the future - whether from the entire film or the opening of a picture. I will take these mainstream conventions into access, by morphing them within my opening of a film task, due to my first decisions being of filming the opening of a thriller movie.
Here are the typical conventions that we noted down:

• A twist at the end - the full picture is usually revealed towards the end of the film, as well as in the lasting scenes. The final moments of the film will reveal the core of the story. Within "The Usual Suspects," Roger 'Verbal' Kint (Kevin Spacey) reveals he is in fact a small time con man, being behind the brains of Keyser Soze, after telling the police lies and twists behind the massacre that we preview of the past throughout the film. His complex narrative helped win this movie two academy awards, including Best Supporting Actor for Spacey's bizarre performance.


• Flashbacks - changes of time periods and shifts are usually noted in thrillers. As Spacey retells his story through an unreliable narrative, we flip back and forth between the past horrific events of crime, to the hazy reports of the present within the calmer FBI office.


• Usually a male cast, due to their stereotypical 'superior' roles within society, which dominate over women. Within "The Usual Suspects", there are little women roles, with the make cast absorbing the screen. This relates to the important crime scenes, as well as the arguments and gun shootings towards the end. Therefore, the director felt that men fit into the role better for this film, whilst the women were sidelined. (Unless a thriller fell under the film noir genre, to where they usually play stronger roles.)


• In relation to the ending of thrillers, the finale of the film is often left open. Therefore, the cases and clues are unsolved, as well as the situations throughout the film not being tied up. Therefore, questions are left lingering within the audiences' mind, leaving thrillers wondering their heads'. 'The Usual Suspects' includes this, due to Verbal telling interrogate Agent David Kujan a pack of lies, which although at first appear to tie the pieces together, end up being revealed as a cunning pack of lies. Therefore, the criminal is not caught.


• On top of the above, the audience has to work out the plot. Due to Kevin Spacey's confusing statements, and the recurring flashbacks, the audience is confused with the narrative, as well as the core of the plot. However, at the end when it is revealed it has all been a lie, the viewer can acknowledge this, as well as look at for the clues throughout the film with another viewing, due to it being a different movie to the one that you believe you've been following. As Hal Hinson for the Washington Post states: "Ultimately, The Usual Suspects may be too clever for its own good. The twist at the end is a corker, but crucial questions remain unanswered. What's interesting, though, is how little this intrudes on our enjoyment. After the movie you're still trying to connect the dots and make it all fit - and these days, how often can we say that?"


• There is little action and violence throughout. It has been diluted, due to the main focus being of the plot, although it does occur on an unexpected basis. The tension of the plot is the focus point, due to it building a harsh atmosphere for the viewers to feel. Within this particular film, there is a gun scene towards the end of the movie, due to the 'criminals' aiming to steal some drugs. There is also a mass explosion, which releases to tension that has been built up throughout.


• First hand accounts tend to be unreliable. Usually told through a non-diegetic narrative, one of the leading roles or characters will retell the story, although it is popular for this narrate to have had an event or situation happen to them, therefore with them aiming for a bias account. For example, Kevin Spacey's voice is heard throughout this motion-picture, usually in a drone, mono-tone manner. However, although he leads us to believe that they are all unknown to who the main villain is, his tone changes when he is revealed in the finale scene, therefore tricking the audience.
  
  

'Memento' film analysis

'Memento' analysis: Widely regarded as one of the most unique and intriguing thrillers of all time, as well as being noted as "one of those films you immediately want to see again" by The Guardian, this unique Art Film released in 2000 back tracks through time to reveal shocking events, in order for the main role to begin the ultimate act of revenge. Directed by Christopher Nolan - adapted by his younger brother Jonathon's short story 'Memento Mori' - we follow leading man Leonard Shelby (Guy Pearce) track down the predator who has raped and murdered his wife. However, all is not as simple or as it seems, as since the tragic incident of the night of her massacre, he has suffered from anterograde amnesia (short-term memory loss); therefore, leading to him depending on various memento's, usually in the forms of Polaroid photographs and tattoos, due to him being unable to recall any event or place he has just visited or anyone he has just met minutes before. Deter mind to find out the answers to who killed his wife and why, he investigates the past, needing the help of his clues as well as bartender Natalie (Carrie-Ann Moss) as well as Teddy (Joe Pantoliano) - both whose friendship may not appear what it seems. Including the Rashomon effect - where the narrative is told in opposing and contracting accounts/views, this is a critically acclaimed, independent film. Featuring classic flashbacks, deceit in reverse as well as original memory twists, this film has been noted for its nonlinear narrative structure and reverse chronological order, allowing it to be recognized at the Box Office, as well as receiving various accolades and academy award nominations - for its editing and original screenplay. In relation to its opening sequence, 'Memento' opens up with its its distributor's logo of 'New Market'. This allows the audience to acknowledge how recognisable this film may just be, which is an American film production and distributing company which converges with Newmarket Capital Group, founded in 1994. Their typical iconography fades into black, revealing a dark canvas. This is then broken up by the words of "New Market Presents" in white, which eventually fades into more separate words - such as the producers, editors and actors - throughout the titles. The bold writing draws attention, contrasting with the dark background, alerting the audience to pay attention to what is being portrayed. After understanding the plot of the piece, they may understand that the fading of the colouring may be interpreted as the main role's memory decreasing. Each of these titles last for approximately 3-4 seconds, which parallels with the non-diegetic violin sound that progresses throughout after 4 seconds of this opening. The films score gradually gets deeper and softer in its tune, which gives off a thoughtful, dream-like atmosphere. However, the different moods are almost sad, connoting the ambience of the motion-picture. Throughout these black opening titles, no diegetic sounds are heard.These continue for approximately 36 seconds, when the films title - emphasized by its larger spread words - lingers linger than the previous words, eventually dissolving onto a natural scene, which opens the film. The titles continue throughout the opening, with more typical title conventions being featured. The scene features an extreme close up of a mans hand, which is holding a Polaroid picture, which features an individual bloody and injured in what appears to be a bathroom. In relation to rule of third, the image covers up two-thirds of the frame, emphasizing its an important piece of work; moreover a memento, opening the main theme of the plot. On top of this, this shot has been pulled into shallow focus, so the hand and picture are emphasized. At first there is no sudden movements in this shot, apart from the gradual fading of the picture; underlining his memories disappearing. After several seconds, the mans hand eventually pulls this away from the camera, shaking it several times, as well as pulling it back towards the screen. This is the opening ambient sound within the piece. This constant shaking of the photography - alongside the gradual fading of the image - underlines his desperate grasp of capturing his memory as it leaves him. Once the director (the typical finale of the titles within film conventions) fades alongside the image, we view another shot - a close up - from the opposite perspective, which shows the photograph in the mans hand from the front. The camera then slowly pans upwards, following the Polaroid being inserted into the camera and then the reaction of the individual leading guy; Guy Pearce. He appears sweaty and uncomfortable, focused upon something, therefore showing he's distressed. We learn from this edit that this opening scene has been edited in a slow-paced reverse, therefore already diverse from other films. It shows the audience that the narrative of this film may be dissimilar from others, showing a main motif of the picture; time. A cut-in shot then shows his hand appearing the get the Polaroid out of his pocket - although, as edited in reverse, he is in fact slotting it into his pocket. The shots then gradually fasten up in pace, as it cuts away to an extreme close-up of dripping blood (connoting danger), following by a lingering shot of a single bullet; broken glasses and a aerial shot of a mans bloody head. This adds to the tension. We then watch the leading man from a superior low-angle, as the gun appears to swipe into his hand thanks to the fast-paced edit, followed by the shocking gunshot near the camera lens. We then witness a hurried montage of images, that relate to the previous bullet and glasses, that are forwarded to their original places - the bullet in the gun and the glasses to the bloody man. The man then spins around - from a high-angle shot, underlining his victim character - finalising on him being shot. This instantly halts to a stop, aiming to shock the audience, cutting to a black and white scene of the lead lying on his bed. A heartbeat-like tick is overheard as the score, stressing his thoughts, as the camera tracks up-close, upwards of his face, towards his mind, following the non-diegetic narration of his wondering mind. His reaction is confused alongside his worries of "where am I?", all paralleling well. The camera then cuts in to a key from his eye-level, as he ponders his surroundings, followed by various lingering shots of what he sees around him. A master shot then concludes the opening sequence, showing how alone he looks in the hotel room, alongside his lone thoughts. This opens up a hidden theme of the film - loneliness - where the main character aims to almost beat the 'baddy'. It also adds mystery and a certain thrill to the film, hencing the thriller novelty. The scene also includes low key lighting, which may show his dark thoughts due to him being in the unknown. The black and white convention is typical in film noir films, as well as the low key lighting. The last film-noir relation lasts for 23 seconds - being of a quick, sharp opening of the plot, instantly allowing us to know confusion and drama will be stressed throughout. However, the entire opening lasts for 2 minutes, 44 seconds, therefore being a snappy opening for a film.

http://www.youtube.com/watch?v=LTq8tjPjmEQ