Friday, 27 January 2012
Final Day of Shooting
Final day of shooting, the most major part will be done, the main part of the interrogations, all flashbacks have been filmed so far and I am quite happy with them so far. My friend Lewis will be playing as the detainne, and the area has been setup up appriopriately with posters and I have placed around the area beign filmed. Clips will be added on monday :)
Tuesday, 24 January 2012
First part of Shooting today and Voice-overs!
Today i finally started shooting my opening scene, and completed roughly a third of it (Flashback), I got the help of Amir and Charlotte to help me shoot and act that particular scene. It went rather smoothly, very few mistakes and got through numerous runs in a short space of time.
Onto my other part, my voice overs for my Interrogation are complete, however I am a little uneasy about them, I feel like they are a bit 'cheesy' so to say, which is completely the wrong direction I am going for. however, after asking a few of my classmates, the majority said it was rather good and suited the mood except Charlotte (Grr.). I may either redo these or see what they sound like once I have edited them.
P.S. Thanks Amir and Charlotte for helping me out! Much appreciated :D
Onto my other part, my voice overs for my Interrogation are complete, however I am a little uneasy about them, I feel like they are a bit 'cheesy' so to say, which is completely the wrong direction I am going for. however, after asking a few of my classmates, the majority said it was rather good and suited the mood except Charlotte (Grr.). I may either redo these or see what they sound like once I have edited them.
P.S. Thanks Amir and Charlotte for helping me out! Much appreciated :D
Sunday, 22 January 2012
Filming time change, plus Actors!
I was planning to film my piece on the 20th of January, however this has been changed to 26th and 27th of Jan, since the room I had booked to use is still not ready to be used unfortunately.
On the bright side however, I have my actor, acting as the detainee, (Lewis Carr) and myself as the Interrogator and Aleski. My friend Matthew Jefferson will help me edit the voice of the interrogator for a more deeper and digital voice.
On the bright side however, I have my actor, acting as the detainee, (Lewis Carr) and myself as the Interrogator and Aleski. My friend Matthew Jefferson will help me edit the voice of the interrogator for a more deeper and digital voice.
Rough copy of my company logo
Here is a rough edit of my company logo, i'll touch it up abit nearer editing :) oh and the name needs adding 'Salvation Studios'
Revelations Script
Revelations Script
Two different parts, real-time, and flash back sections.
Real-time
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is only in black and white.)
(a deep powerful voice, sounding thunderous)
Interrogator: Wake up. WAKE UP.
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator: He isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
Interrogator: Good. We will make you sing.
(the detainee wretches back and forth in a medium shot, as he is in a lot of pain due to the electric shock. Yet he still does not reply)
Interrogator: You know why you are here. You know what you have done. Tell me where is Aleski Ramnov?
(the Detainee remains silent, still writhing)
Interrogator: Do it. ( the electricity kicks in again, the detainee writhes in pain, a flashback occurs) ( See flash back page)
Interrogator: We can do his all day Jack. We know you know him.
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
(A flicker of a projector appears, a group of images appear on the detainee, including him and Aleski)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. JACK? JAAAAACK?!
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback Sequences
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Two different parts, real-time, and flash back sections.
Real-time
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is only in black and white.)
(a deep powerful voice, sounding thunderous)
Interrogator: Wake up. WAKE UP.
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator: He isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
Interrogator: Good. We will make you sing.
(the detainee wretches back and forth in a medium shot, as he is in a lot of pain due to the electric shock. Yet he still does not reply)
Interrogator: You know why you are here. You know what you have done. Tell me where is Aleski Ramnov?
(the Detainee remains silent, still writhing)
Interrogator: Do it. ( the electricity kicks in again, the detainee writhes in pain, a flashback occurs) ( See flash back page)
Interrogator: We can do his all day Jack. We know you know him.
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
(A flicker of a projector appears, a group of images appear on the detainee, including him and Aleski)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. JACK? JAAAAACK?!
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback Sequences
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Memento Analysis
Memento Analysis
The clip begins with a very still shot of a disturbing image of blood and a desolate area, and remains like this for 30 seconds, then quickly moves shaking the photo in his hand, whilst still remaining in the same shot. This repeats for 3 times, and over time the photo begins to fade slowly, and the colour turns eventually to white. (perhaps a representation that time is always slowly fading away?) it then goes into a reverse of him putting a picture back into a camera, as the sound swiftly changes to a more eerie tone, matching the sudden change of camera angle. it then jump cuts into different close ups of blood, glasses and a body. it then goes into reverse with a shell casing going back into the gun and firing at the murdered male. It then abruptly jumps into a black and white sequence with a close up of a male, with his voice playing backwards.
Notes taken:
I liked how the photo subtly changed from colour to faded, and how there were many meaningful close ups that eventually pulled a picture together. However, I disliked how the clip went from black and white, i found it to be jarring.
The clip begins with a very still shot of a disturbing image of blood and a desolate area, and remains like this for 30 seconds, then quickly moves shaking the photo in his hand, whilst still remaining in the same shot. This repeats for 3 times, and over time the photo begins to fade slowly, and the colour turns eventually to white. (perhaps a representation that time is always slowly fading away?) it then goes into a reverse of him putting a picture back into a camera, as the sound swiftly changes to a more eerie tone, matching the sudden change of camera angle. it then jump cuts into different close ups of blood, glasses and a body. it then goes into reverse with a shell casing going back into the gun and firing at the murdered male. It then abruptly jumps into a black and white sequence with a close up of a male, with his voice playing backwards.
Notes taken:
I liked how the photo subtly changed from colour to faded, and how there were many meaningful close ups that eventually pulled a picture together. However, I disliked how the clip went from black and white, i found it to be jarring.
Se7en Analysis
Se7en Analysis
We begin with a sepia style editing in the beginning, with a book swiftly moving through the pages with a heavy motion blur. Then jump cuts with scrawly texts and a heightened view of a picture of hands. Then numerous jump cuts of strange objects being used. More swift jump cuts are used of real hands being stitched and torn etc. the music in the background is distorted and contains screams and other random disturbing noises, which heighten the strange and tense atmosphere. The title 'Se7en' erratically moves to different areas, switching to different sizes, intensity of light. it then fades into a close up of hands, but with a overlapping layer of hands to create and 'double vision' look. As the cuts begin to get faster and faster, the sequences speed up as if they were subliminal, until eventually many different pictures are moving incredibly fast and then abruptly ending.
Notes taken for my Film:
I really liked the heavy use of editing with the motion blur and sepia tones throughout, and liked the erratic titles and texts used throughout to create a more 'psycho' feel. I especially liked how the sequences of the pictures got faster and faster as the ending came closer.
We begin with a sepia style editing in the beginning, with a book swiftly moving through the pages with a heavy motion blur. Then jump cuts with scrawly texts and a heightened view of a picture of hands. Then numerous jump cuts of strange objects being used. More swift jump cuts are used of real hands being stitched and torn etc. the music in the background is distorted and contains screams and other random disturbing noises, which heighten the strange and tense atmosphere. The title 'Se7en' erratically moves to different areas, switching to different sizes, intensity of light. it then fades into a close up of hands, but with a overlapping layer of hands to create and 'double vision' look. As the cuts begin to get faster and faster, the sequences speed up as if they were subliminal, until eventually many different pictures are moving incredibly fast and then abruptly ending.
Notes taken for my Film:
I really liked the heavy use of editing with the motion blur and sepia tones throughout, and liked the erratic titles and texts used throughout to create a more 'psycho' feel. I especially liked how the sequences of the pictures got faster and faster as the ending came closer.
Kiss Me Deadly Analysis
Kiss Me Deadly Analysis
We begin with a black and white tracking shot of a woman, tracking her every movement, and the same incident repeats 3 times. The Light is always bright on the woman's face, which could be a representation of the woman being 'innocent and angelic'. It then cuts into a long view (possibly a late establishing shot), where a car swiftly misses hitting her. the brightness on her face fades, suggesting that she is not so innocent. the man sharply says 'You nearly ruined my car!'. A representation of the 1940's male stereotype of them not treating women as equals. As the titles appear, they take over the screen with a very bright white, and as they begin, a soothign calming 1940's singing voice begins to play.
Notes I may consider:
Although I am considering creating modern thriller, I wanted to look at older thrillers for references, and to see the comparison between modern ones and those are. I particularly liked the distinguished attitudes of the male and female stereotype and how the lighting shifts when a characters begins to be more than meets the eye.
We begin with a black and white tracking shot of a woman, tracking her every movement, and the same incident repeats 3 times. The Light is always bright on the woman's face, which could be a representation of the woman being 'innocent and angelic'. It then cuts into a long view (possibly a late establishing shot), where a car swiftly misses hitting her. the brightness on her face fades, suggesting that she is not so innocent. the man sharply says 'You nearly ruined my car!'. A representation of the 1940's male stereotype of them not treating women as equals. As the titles appear, they take over the screen with a very bright white, and as they begin, a soothign calming 1940's singing voice begins to play.
Notes I may consider:
Although I am considering creating modern thriller, I wanted to look at older thrillers for references, and to see the comparison between modern ones and those are. I particularly liked the distinguished attitudes of the male and female stereotype and how the lighting shifts when a characters begins to be more than meets the eye.
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