COMPANY RESEARCH

We have conducted a group discussion on what to name our production company and have concluded a respectable name that would suit our production of a thriller opening sequence would be Celluloid Pictures. However, for us to be a company we would need a feel and some knowledge of what sort of production companies, similar to what we want ours to be, does in the process of film production.

WARP FILMS


Launched in 2001, Warp Films leads the way in exciting and original British Filmmaking. The company has been behind an array of critically acclaimed and award winning films, including several BAFTAs. These productions include Rubber Johnny, Dead Man's Shoes, This Is England, Donkey Punch, A Complete History of My Sexual Failures and Four Lions. 

Warp films is an independent company and why I think Celluloid Pictures should be linked with it is because it has a rather vast freedom on what their narrative could institute as it is not burdened with the thought of profit as some mainstream film companies do like 20th Century Fox or Universal. The brilliance of having a niche audience is the fact that it enables such artistic value in the story; there are no boundaries in its narrative.  





Four Lions certainly is a good example as it tackles the issues of terrorism in the UK. This is of course a rather serious and controversial topic which mainstream media would often avoid. However, as Warp Films attracts a small and niche audience, they have more freedom to convey such a narrative. It even goes as far as to veil the controversy of terrorism with humor and slap-stick comedy.

WORKING TITLE

Despite the fact that Working Title is part conglomerate, their aspect of independence is something to aspire to. Their narrative often falls into a feel of sophistication, something we would like to incorporate in our production as the element of sophistication is somewhat significant to a spy-thriller.



Tinker Tailor Soldier Spy is our main film of reference and this movie is what I believe is perfect example of how to emulate the feel of sophistication in a spy-thriller. The various aspects of conventions instituted in a thriller is all applied in the film which conveys such a suspenseful and vintage look to the production.

TITLE OF PRODUCTION

So far our group remains indecisive of what to name our film. Therefore we have turned our attention to other films names in order to accumulate some knowledge as to how these names of the films were thought up.

The James Bond series were based on the novels from Ian Fleming. It was said that there was a team of people alongside him who's soul purpose was to think of names to assign to the books. These often resulted to iconic, spring-off-the-tongue names that caught their audiences eyes; ideal for mass appeal as it was cool, unusual and always an eye-catcher.


For example: Quantum Of Solace. This essentially means once depicted: Littleness of regret/concern. This is, in my opinion, a wonderful name as it conveys such sophisticated connotations purely of how they have worded it and of course the sophisticated manner is rather linked with the narrative of the film. The title also compliments the presentation of James Bond in the poster, and in the film, as though he seems like a person of high class, he holds a weapon in clear sight and is surrounded by a desolate area, leaving us to ponder with the question of whether he had caused such a destruction. This generates a rather cryptic and mysterious sense.



Another example would be GoldenEye. GoldenEye acts in accordance with the whole notion of ambiguity in James Bond titles. As gold carries connotations of wealth and riches, we are left with various questions due to the obscurity of its meaning such as whether there is value in observation or someone in the film literally has a golden eye. Either way it is interesting, thought provoking and draws the mass' attention.





We have finally came to an agreement that would suffice as an appropriate and interesting name, Unforeseen Emissary. I believe this is a great name as it complements the narrative of our production with its sophisticated wording. It essentially means an unexpected special mission/diplomatic representative which is rather linked to our narrative and secret-service theme.

PRELIMINARY TASK

This is the preliminary task which indicates all the continuity aspects of which we wish to implement in our final production of the opening sequence. The three continuity features outlined in the preliminary task are shot/reverse shot, match on action and keeping within the 180 degree rule.




EVALUATION:

During the start of the clip where Ricardo walks in from outside there are several problems present. The position of the camera is slightly tilted giving an unprofessional look to the production. Also, his face as been cut off from nearing the end of the first shot.

As Ricardo grabs the door handle, we establish a match-on-action shot however, it seems as if he grabs the door too slowly. However, when he walks through the door and the camera moves onto a long/medium shot of him coming through the door, it looks good in terms of continuity.

The continuity of the clip is staggered however when Ricardo walk through the hallway into the door as there  seems to be some repeat or backtrack of him coming through as seen through the window next to the door.

The shot/reverse shot is established between me and Ricardo during the exchange of dialogue. I believe we have sustained a good sense of continuity due to the variety of the shots exhibited and also the flow of the conversation. It is also good as we succeeded in not breaking the 180 degree rule allowing for assert the same right/left relationship and assuring professionalism.

MISE EN SCENE

Mise-en-scene is a vital part for our opening sequence as it translates a further insight to our narrative. This is a good feature of the film we need to invest our consideration and thought into as it can induce some depth to our final piece. But what exactly is Mise-en-scene?:

Mise-en-scene is a term used in film to describe everything that you can hear and see on the screen at any time when watching a film.  The director’s choices of:

·     lighting;

·     scenery and setting;

·     costumes;

·     props;

·     camera shots and camera angles;

·     body-language of actors;

·     sound effects;

·     music,

All help to create a particular atmosphere appropriate for the plot.  The director uses mise-en-scene to help enhance the audience’s understanding of a film and his/her decisions about what should and should not be seen on the screen will affect the overall tone of the piece. 

Basically, mise-en-scene is the director’s tool to stage events, giving him/her the opportunity to make the ultimate decisions about what the audience sees and hears in the movie.  It is the director’s way of adding detail to a film outside of the words an actor delivers in a script and is the equivalent of an author’s use of description in narrative to describe scenes and surroundings in depth.

TTSS PRODUCTION RESEARCH

Here is some background research regarding the production stage of Tinker Tailor Soldier Spy (our film of reference). This is important to know as we need to consider the what a company does such as Working Title prior to the movies release. 

Tinker Tailor Soldier Spy is a recent film made by Working Title. Working Title had recently divulged their ambition to engulf a wider audience, enabling their films to reach a larger market and gain reach of a global standpoint. As a result to this, they have two major distributors, one based in the UK and the other in the US. StudioCanal UK (UK) and Focus Features (US). The production companies that had taken part in making this film are Working Title Films and StudioCanal.

Thomas Alfredson, a Swedish film director, is the one responsible for directing this film. He is internationally best known for the vampire thriller movie Let the Right One In (2009). Alfredson had received a Guldbagge award for best directing for both his 2005 Four Shades of Brown and the 2009 Let the Right One In.

The key people in the production of this movie lay mainly within the cast. Actors such as Gary Oldman and Colin Firth really supports Working Title’s notion to reach a global audience. These two actors are well renown and academy award winners in their credentials, which automatically heightens the status of the movie. Colin Firth and especially Gary Oldman have successfully broken through into the industry globally.

Peter Morgan initiated the project when he wrote a draft of the screenplay, which he offered to Working Title Films to produce. Morgan dropped out as the writer due to personal reasons, but still served as an executive producer. Following Morgan's departure, Working Title hired Peter Straughan and Bridget O'Connor to redraft the script. Tomas Alfredson was confirmed to direct on 9 July 2009. The production is his first English-language film. The film was backed financially by France's StudioCanal and had a budget corresponding to 30 million US dollars.

The film premiered in competition at the 68th Venice International Film Festival on 5 September 2011. StudioCanal UK distributed the film in the United Kingdom, where it was released on 16 September 2011. American rights were acquired by Universal Pictures, which have a permanent first-look deal with Working Title, and passed the rights to their subsidiary Focus Features. Focus plan to give the film a wide release in the United States on 9 December 2011.

STORYBOARD

Here is the storyboard me and my group wish to abide by throughout the production of our opening sequence:

ANIMATIC

An animatic is a is a comic-like guideline for the film. It's an indication of camera work, lighting, sound, etc. and is played in motion, frame after frame in order to project an accurate feel for what the final product could be. It involves either drawn picture or photographs along with brief notes. Gorrilaz, a popular music band, made an animatic for their music video Dirty Harry.

ANIMATIC:



FINAL PRODUCT:

There are very few inaccuracies from the animatic and the actual product but they are more or less the same.

ANALYSIS OF CAMERA WORK IN PSYCHO (1960)

Alfred Hitchcock's classic thriller Psycho (1960) is the film that brought light to the iconic shower scene which had emulated many emotions in accordance to horror and fear. These two emotions are rather vital to the thriller genre and would prove rather useful and could very well provide considerations for me and my group's production. Therefore I have made an in-depth analysis of how the camera techniques had supported the momentous shower scene that had defined the thriller genre itself. This is because I believe it is about time we as a group should take into account the significance of camera work and how it can convey the horror and fear we need for our opening sequence.

http://www.youtube.com/watch?v=8VP5jEAP3K4
(The video i had referred to has disabled it's embedded code. Link is provided above)

In this extract of ‘Psycho’ we see a compilation of camera techniques. It exhibits numerous amounts of camera movements and transitions within its narrative. These techniques are to contribute with the rise of tension gradually meeting the crux of the scene and give a thrilling experience to the audience. Not only does it allow the audience to indulge in the tension being outputted from the scene, but it also relays the emotion from the characters onto us, among other things.

The extract begins with a character writing and then evaluating a sheet of paper which then she rips the piece of paper, starting the scene rather ominously as it suggests that the character wants to conceal it from everyone. A mid-shot is applied introducing the scene with Marion and showing the intensity of her body language as well as her facial expression. In this shot we see she is resting her head on her hand before she rips the paper into shreds. This implies to the audience that she is tired and worn out contributing to the narrative a further element of mystery as we are not quite sure as to why she feels this way. Once she rips the paper, she pauses as if pondering a thought as she then glances to the bathroom. From here the camera pans from one composition to another.

We delve into Marion’s profile further as a mid/long-shot is applied when she leaves her seat, casually walking into the bathroom whilst holding the sheet of paper. This shot provides an insight in the relationship between Marion and her setting. The sense of security and lack of urgency in her posture and the way she walks suggests that there is a degree of comfort. The sense of comfort is ensured further as with this frame it becomes clear what she is wearing - a bath robe. However, the ominous feeling is once again met as the lights are off, supplementing a sense of concealment and solitude. The frame also shows that the only light emanating within the scene is from the bathroom, the room Marion is walking to, possibly suggesting a false sense of a hope as light carries connotations of salvation and hope. Inducing a juxtapostion with the climax of the scene.

The composition then cuts into a close-up shot of the toilet when Marion throws the ripped pieces of paper into it and flushes. The close-up shot imposes significance in the toilet, raising the question as to why she took that many precautions to hide whatever she wrote in the sheet of paper, implementing a further sense of unnerving mystery to the narrative. Prior to the close-up of the toilet, there were two abrupt cuts to from Marion walking to the bathroom into a clear shot of her being in the bathroom and then to the toilet as she throws the ripped pieces of paper into. This raises the pace of the scene giving a rise to the tension outputted by the composition.

An angle of sexual imagery is portrayed in the next frame as the camera cuts into a low-angle shot as Marion removes her bath robe and places it on top of the toilet. Aside from the sexual imagery being presented, we see that the toilet subtly induces another sense of concealment as Marion covers it with her bath robe. A crab shot, still sustaining a low-angle shot, is then used to track Marion as she moves into the shower then closing the blinds. An appliance of vulnerability is given as Marion is now naked, which foreshadows her sudden death in the scene. This is to impose empathy to the audience as throughout the scene so far the camera had focused intently on Marion, following every one of her movements, slowly constructing a sense fear and horror. This serves as a deeper impact onto the audience when she dies at the climax of this scene.

This particular part of the extract bears a series of camera techniques to give rise to the fear and horror in which the climax indulges in. Marion is introduced into the shower with a medium/close-up to establish that she is naked whereas also not revealing too much. This accentuates her sexual appeal, proposing sympathy for Marion, supplementing a more striking impact for the audience when she is brutally murdered. The mid/close-up also establishes the facial expression on Marion. As opposed to the beginning of the scene, Marion seems to be happy and frivolous suggesting that she is free from her bearings and troubles, decreasing the level of fear and horror. This, however, may increase the level of tension as Marion seems to be in a very vulnerable position and possibly signalling a turn of events as there was a continuous unnerving theme given by the varied pace of camera movements. Jump cuts are applied here as Marion showers and a shot/reserve shot is also applied between Marion and the shower cap to show that what she is focusing on. The fast pace of this composition deviates the audience’s attention and subtly constructs a sense of horror and fear. 

SHOOTING SCHEDULE

This shooting schedule, a guideline which incorporates the times, dates and location of when to film, maximizes the efficiency of which my group can work in. A shooting schedule is often indicated by the assistant director however we have not assigned such a role due to the small number of the group. Regardless, this would be rather helpful in order for us to remain time conscious as well as being as organised and prepared as possible.

  

Shooting Schedule

SOUND MOTIFS

This prezi elaborates the significance of sound (or even the lack of it) and the different types of sounds that can be used in a thriller.

ANALYSIS OF OPENING SEQUENCE 2

I have conducted an analysis of Mary Harron's psychological thriller American Psycho's opening sequence. This presentation is to illustrate how the mise en scene, as well as other things, and the narrative is conveyed and how this relates to it's genre.

Analysis of American Psycho

Here is a link to the opening sequence of American Psycho (2000):
http://www.youtube.com/watch?v=CGeAMVK75T4

RED HERRING

A Red Herring is seen quite often in thriller movies. A Red Herring's role is to serve as a distraction or to hinder the protagonist, which effectively both inhibits or seen as an addition to the narrative and the story telling.

It is still indecisive as to whether a Red Herring should be implemented in mine and my group's opening sequence. We certainly do have the means of including a Red Herring and I believe it would certainly add some dynamism to our narrative however it would be rather difficult to add something like a Red Herring to a 2 minute sequence as a Red Herring would require some elaboration in its role.

Katie Holmes & Harvey Dent - Dark Knight

Wai Lin - Tomorrow Never Dies

Jinx - Die Another Day

Mal - Inception

We have attempted to implement our own Red Herring into our narrative with the vague and implicit introduction of a women named 'Hanna'. This is an attempt to induce more depth and tension into the story and a minor form of character development as our Protagonist, 'Smith', exhibits an out-of-character moment in the state of shock which we aim to end the opening sequence in. 

Our opening sequence will tend to be rather slow-paced and mellow as we are trying to meet the convention of suspense that is often seen in spy-thrillers. By conveying such a depressing and low-pitched beginning, it will provide a greater shock once we introduce the Red Herring 'Hanna' among the dialogue as it will contribute a larger sense of immediacy to the narrative.

AUDIENCE RESEARCH

Me and my group had conducted a questionnaire as part of the audience research in order for us to gain an insight for what our final piece could be. prior to this, we had discussed what type of thriller we want for our final piece and concluded that we would like it be a spy thriller. With this, I had constructed an interview with three people who had recently watched Tinker Tailor Soldier Spy. The questions are intended to support or choice for our final piece. We had chosen Tinker Tailor Soldier Spy as it was our main film for reference as it exercises many of the conventions we want to implement to our final piece. 

Here are some pictures of my group meeting regarding the audience research.

                                                                                                     

Here are the outlines of 3 interviews I have conducted with people who have watched Tinker Tailor Soldier Spy. This articulates a spectrum of opinions on how good the film was regarding it's fulfillment as a thriller. This would serve as great support to our opening sequence as we could take into account the type of things we need to consider in order to satisfy our audience.


Did you think it was a good film? 

1: Overall, yeah, I've enjoyed the movie. It kept me guessing throughout the entire film because there was never any real hint of who the real mole was in 'the Circus'. Plus, it was really suspenseful and that was the best feature of the film. But, it was too slow and could do with a bit of pace.

2: In retrospect, the film was just way too slow. I know it was trying to make a lot of suspense and everything but the fact of how slow it was just got in the way of the storytelling and ultimately bored me.

3: The film was good; not great, not bad either, but I did like the movie. I just feel that the pace of the film hindered the narrative. But, it was a price to pay for the mass amounts of suspense it had. The story was definitely good and I understood what was going on surprising, but my only problem was how slow paced it was and how dull everything seemed.


Did you think it was a good thriller?

1: With that amount of suspense and mystery, definitely. It's not quite up there with thrillers such as Body of Lies or the Bourne trilogy, but considering the style and the story of the actual film, it is a really good film. But, even though thrillers tend to have suspense and stuff, I still think they overdone suspense because they kinda slipped into the boring side.

2: Aren't thrillers supposed to keep you on the edge of your seat? If it had been faster with its pace, it would be good, but to be honest it was not a great thriller.

3: It wasn't a good thriller in my opinion. But they did keep all the stuff you'd see in other thriller films like the Bourne trilogy, with all the mystery it had in it and the pursuits that had taken place in the story. Thrillers, in my experience, are movies that involve action and vibrant storytelling with also suspense and mystery. I just think that Tinker Tailor Soldier Spy didn't quite  live up to the action and vibrant storytelling part.


What do you think of the opening sequence? 

1: Well, it was ridiculously long, but it did have some significance to the actual film which i gotta excuse for. Like when the he goes to the optician to get his glasses adjusted and when he went for a swim with his head above the water was all just a enforcement of his role as the observer. I get it, but honestly, it took too long to get into the plot.

2: Why did it take 30 mins to get anywhere in the film? Seriously I struggled to stay awake, it was stupidly boring and I really did hate it. There was no point for it.

3: I'm not entirely sure as to why the film took us through Smiley's boring routines and why it took that long for us to progress anywhere in the film. I guess all I needed was a little patience, but even-so, it didn't give any points to film with that opening sequence. It didn't have any suspense, or mystery and I'm not sure if it had anything to the do with the story as a whole. it wasn't a great start to the film. I think it was foreshadowing, or even warning, how slow the film actually was.

FILM CERTIFICATION

BBFC (British Board of Film Classification) is responsible for issuing classifications to all and production in the UK, including films, videos and video games. The BBFC is of a legal stand, funded by the media industry administering classes ranging from 'U' to 'R18'. 

'Universal' - Suitable for all


It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

'Parental Guidance'


General viewing, but some scenes may be unsuitable for young children.

Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children

12/12a

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

15

No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video work. Films under this category can contain adult themes, hard drugs, strong words, moderate-strong violence/sex references, and mild non-detailed sex activity

18

No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work. Films under this category do not have limitation on the bad language that is used. Hard drugs are generally allowed, and strong violence/sex references along with strong sexual activity are also allowed. Scenes of strong real sex may be permitted if justified by the context.

R18 - RESTRICTED

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.
Films under this category have material the BBFC does not allow for its "18" rating, thus the violence and sex activity will be stronger in R18-rated VHSs, DVDs and films than those rated "18," however, there is still a range of material that is often cut from the R18 rating. More cuts are demanded in this category than any other category.

(Acknowledgement: http://www.bbfc.co.uk/)


Fundamentally, thrillers, especially spy thrillers, are issued with either a '15' or '18'. This is necessary as thriller conventions often comprise of things that are beyond the lower classifications therefore, in order to exhibit proper use of the conventions, it must be ensured that their audience can comprehend it.  

FINAL IDEA PRESENTAION

This is a presentation outputting mine and my groups ideas of what our opening sequence could potentially be. Our ideas were proposed through discussion and have compromised with a general concept of our future final piece.


Final Idea

SAUL BASS

Saul Bass is a specialist in opening sequences and would prove to be a great help and a sufficient point of reference for our final piece. Saul bass (1920 – 1996)

Here are some examples of Saul Bass' work




In the Man With The Golden Arm opening sequence, there is some rather simplistic imagery in use. We see a black and why colour scheme throughout the entirety of the sequence and angular objects being swooping across the frame. The credits are positioned in accordance with the objects with a simple and formal font. This formulates a simple and sophisticated demeanor that perpetuates throughout. However the simplistic object then form the iconic insignia that represents the movie; the crocked arm flowing from on top downwards. This now provides the reason as to why the objects during the majority of the opening sequence were so angular, it was to create a mechanical, manufactured image which symbolizes the Golden Arm.




The opening sequence of Psycho is somewhat fast paced with the erratic nature of how the objects and images are animated. Many stripes glide horizontally eventually making the screen black revealing the simplistic text. This induces a ominous and suspenseful feeling which supports the narrative of the film.
There is also a sense of distortion implemented in the opening sequence when the all-important title of the film 'Psycho' appears. The stripes that dictate the opening sequence applied within the actual text. The row inside the text is slightly shifted from left to right and vise versa which supplements a great amount distortion. This ominous, distorted, suspenseful feeling is amplified by the sheer simplistic nature of the opening sequence.

CONTINUITY EDITING

Shot Reverse Shot
 - Two or more shots edited together that alternate between the subjects. This is often seen when a conversation occurs. A type of continuity editing which comprises of one of the subjects pointing left as the other faces the right.

Match On Action

 - An cut that divides an action into two different angles of the action. These different angles and cuts are made to be presented as if the action is maintaining its continuity throughout the scene. Supplements dynamism to the particular action as well as the scene.

  

180 Degree Rule

 - A rule in which it assumes that two subjects of the composition must have a same left/right relationship to each other. Once the camera crosses that axis around the 180 degree line across the two subjects, it is referred to as crossing the line.

DIRECTOR RESEARCH

I have made some research into various different directors that all do thriller movies but different types of thrillers. Some research was made into gaining an insight as what what films they have made and how does it relate to what type of the thriller genre do they specialize in.

Thriller Directors on Prezi

TINKER TAILOR SOLDIER SPY - SUSPENSE ESSAY

As our final piece is going to be a spy-thriller, I had chosen Tinker Tailor Soldier Spy as a film of reference. Tinker Tailor Soldier Spy is the a suspenseful and sophisticated movie and would be a perfect suggestion for us to use in my opening sequence. TTSS bears various conventions which adds a great amount of suspense to the narrative and the techniques used in the film would very much prove useful in mine and my groups production.

How do conventions of a thriller genre create suspense?

Thriller films abide by conventions to portray mass amounts of suspense as suspense is a vital element in which a thriller narrative revolves around. Suspense perpetuates throughout the spy thriller Tinker Tailor Soldier Spy as the story is governed by a significant feature in which thriller incorporates: unawareness of forthcoming danger. As Tinker Tailor Soldier Spy is a espionage thriller, the narratives focus is on that suggested feature of the thriller genre as mystery serves a great importance to a spy thriller. These conventions are portrayed through camera work and misé en scene.

Tinker Tailor Soldier Spy establishes various high intensity camera work consisting close up shots and tracking shots. The close up shots applied to a film with such mystery is rather appropriate to output suspense as it is used to relay the thought processes occurring in the narrative and characters. There is a number of implied thought implemented in the narrative of Tinker Tailor Soldier Spy therefore close ups are essential for in order to signal a deeper meaning in things. Close ups are also used in discussions at the table of the “circus” between the main characters with the protagonist, Smiley, as everyone in there is said to be a potential mole who had infiltrated their intelligence. The close up shot applied in these discussions are of great significance to the narrative of the film as this arouses suspense and suspicion supplementing a feeling of hostility and nihilism as the audience does not quite know who the mole is. A further sense of suspense is achieved by the use of tracking shots throughout the film. Tracking shots allow the audience to sustain a feeling of intensity whist a character or object is moving through the setting, and in Tinker Tailor Soldier Spy, the tracking shot signifies pursuit. A pursuit in a fairly slow paced film is seen to evoke intensity and suspense as it conveys a progress to the narrative. There are various camera angles cutting between the tracking shots which increase the pace and feel of intensity of the narrative whilst also increasing suspense as we do not know what the subject is approaching.

A convention Tinker Tailor Soldier Spy falls under is the hostility the protagonist may feel. The protagonist is usually placed in an unexpected and threatening situation and in this case Smiley, who had just retired is pulled back in to do a job for which only he can do as he is now outside of the “circus”. With this we are indulged in the protagonist’s perspective of other characters in the film as everyone is a suspect which induces a great amount of fear and suspense.

How the misé en scene is conducted throughout the scenes presents a great sense of suspense. Particular iconography is implemented in the narrative to signify suspense in Tinker Tailor Soldier Spy. The briefcase seen every time the film visits the “circus” represents intelligence either being exported or imported which coincides with the film’s narrative. This is a powerful suggestion of suspense as film tends to the curiosity of who the mole is and how much intelligence is he exporting from the “circus”. The lighting in the majority of the film is low key. This is a usual convention for thrillers, especially spy/espionage thrillers, as the low key lighting suggests a mystery or sorts existing in the narrative. This immediately imbues a sense of suspense as the low key lighting conveys connotations of mystery and intensity.

GROUP DISCUSSIONS

24th JANUARY 2012

My group have conducted a meeting to relay our ideas of what the our final piece should be. Whilst deciding we have peer assessed each other's presentations of the conventions of thriller. With this, I had a wider range of knowledge as what thriller incorporates in it's films and the significance of using it. I wish to apply what I have l have learnt into out final piece.

We also researched on the other thrillers such as action thriller, psychological thriller, romantic thriller, etc. After careful consideration of our research we have concluded and compromised with what it should be and have decided that our final piece shall be a Spy-Thriller.


2nd FEBRUARY 2012

Me and my group had conducted a questionnaire as part of the audience research in order for us to gain an insight for what our final piece could be. prior to this, we had discussed what type of thriller we want for our final piece and concluded that we would like it be a spy thriller. With this, I had constructed an interview with three people who had recently watched Tinker Tailor Soldier Spy. The questions are intended to support or choice for our final piece. We had chosen Tinker Tailor Soldier Spy as it was our main film for reference as it exercises many of the conventions we want to implement to our final piece.  






28th FEBRUARY 2012

Me and my group decided to conduct some further research of our own in order to find out about shooting schedules and storyboarding. We wanted to grasp a stronger understanding of what they entailed before going ahead and creating one. We went on the internet and used some sheets and booklets to find some research and then we added it to our blog.

1st MARCH 2012

The following images are from our session in which we completed our animatic. As a group we split up in to different sections. I took care of the visual side of the animatic. Me and Johnnnie recorded the exterior sounds that we needed such as the shower and the keyboard. We then came together as a group and collaborated on what we had collected. We pieced all the components together to complete our animatic. 

7th MARCH 2012

First day of filming- Chelsea Academy. Me and Ricardo collected the neccesary equipment to film our first couple of scenes. The equipment included a video camera, tripod and camera. The camera was used to record proof of working and filming as we took various pictures in on our set. We were working under time constraints and this seemed to make us highly effective as we filmed five minutes worth of film and had it uploaded in about two hours. Some of the problems we had to deal with was being quiet due to lessons taking place and children coming out for break. However when this was the case we took that oppurtunity to take picture and move on to our next location.
 
 

10th MARCH 2012

Today me and Ricardo filmed the bulk of our opening sequence. I arrived at his house early in the morning and we went straight to work trying to capture the vital shots. Ricardo had before hand made the fake blood we would be needing for the scene. We had learnt from our provisional task the importance of continuity and framing and we made sure everything we did stayed the same through out each shot. It was tough and there were moments where we struggled such as making sure the blood looked like it was in the right place but also dry. However we worked much more effiecently and actually took less time then we had expected. For todays filming we used a video camera, tripod, dolly and camera for set shots. We made sure to take more than one shot for each moment to make sure that we were able to change and edit anything we didnt like when we arrived in school on Monday.

 
 

12th MARCH 2012

Today was the first day of editing. We had completed all our preliminary filming we would need for the opening sequence and would only re-shoot if necessary. I started of by cutting any unwanted sections of the clip and arrange them in the order most appropriate to our vision. I made sure to cut out background noise. Editing was tougher than i thought and trying to piece together a two minute film is difficult as we had so much footage to cut out.

Here is a casting shot of the Celluloid Pictures group (From left to right: Dauud, Ricardo, Johnnie)

 

ANALYSIS OF OPENING SEQUENCE

I have conducted an in-depth analysis of the opening sequence of the Christopher Nolan thriller, Memento. This presentation indicates what conventions are shown in the opening sequence and how it supports the overall narrative of Memento.

Analysis of Opening Sequence MEMENTO (2000)

CONVENTIONS OF A THRILLER

With this powerpoint presentation I have illustrated the conventions that are exhibited in thriller film. I have also elaborated them to outline the significance to the narrative and what it supplements to the thriller.


Conventions of a Thriller