DIALOGUE REDRAFT

Dialogue:
(Protagonist = Agent Smith  / Second MI5 agent = Agent Johnson)

Smith:      How are you?
Johnson:  I'm fine. One thing led to another, but I'm just glad it's sorted now.
Smith:      'Sorted'?
Johnson:  Yeah, he's dead now.
Smith:      He's still out there.
Johnson:  What?!

2nd Redraft

Johnson:  Glad you can make it.
Smith:       I haven't got much time S, can you hurry it up. You know I'm not supposed to be here
Johnson:   I need you to do one more thing for me, one more mission. (Leaning his hand on Johnson's shoulder then places other hand on Smith's other shoulder) ...She'd want you to do it.
Smith:       She's not here anymore! I quit a long time ago... I'll see ya' S.

FAKE BLOOD

This is us making fake blood for our production to increase the authenticity of the mise-en-scene.

COSTUMES

Costumes

OPENING SEQUENCES ARE IMPORTANT

Why are opening sequences so important to not only the film itself but the entire film industry?

Well simply put, its an introduction to the what comes next, a beginning to a story and no story is made without a beginning. Opening sequences are the foundation to an arc and it bears so much significance beyond our first glance. It exhibits implicitly and subtly many features of the narrative of the whole film in that 2 minutes. It effectively defines the movie and, despite the trailer, shows the audience what the film is going to be about or what the film is going to revolve around.

Opening sequences, with consideration, are potentially an important contribution to the film industry. It bears the same intention of what a trailer does for the audience however it does not reveal much but it does reveal a significant amount of the subtext and serves as a taster to the audience. And regarding the position it bears within a narrative, it is responsible for being a beginning of story which is rather vital.

SHOOTING SCRIPT (DRAFT 2)

Diegetic sound of the alarm clock going off is heard fading in. An extreme close up on the protagonist's eyes in the beginning showing him opening his eyes. Low-key lighting in the room. Alarm clock is still heard as he sits up from his bed and a high angle shot is applied showing him in a crouched position sitting on the bed with dried blood on his hands and chest. An over-the-shoulder shot is then used behind him facing a picture of him and the girl (possible Red Herring) which then switches to a close-up of the framed picture. The surrounding consists of alcohol bottles and messy, desolate bedroom. Alarm is still ringing and shown in the shot. The diegetic sound of the alarm is still heard until a cut into a close up is applied onto the alarm clock being smacked out of the frame abruptly.

We cut to the hallway where the protagonist steps out from the door to the toilet. A zoom out/zoom in is used revealing only his torso and hands to show the blood stains using a dolly which he then walks to the left into the bathroom. He leans his stretched out arm onto the wall tiles seeming rather distressed and trouble as he has a shower and the water drips off which we see seeping in the drain with a close-up shot. We then cut to him wiping the vapor off the mirror and for the first time, using medium, 3/4 shot, revealing his face from the mirror and also a close-up of the face. He sighs depressingly.


A cut into a long shot, tracking shot of the main character walking along the pavement is used. A match on action is then implemented to show him clutching the door knob and opening the door with a close up of the door knob. He then sits on the chair on the computer in front of him using an over-the-shoulder shot and uses the computer. A close-up is used to show the central character using the computer displaying an intense expression on his face.

Diegetic sound of the conversation between the main character and another MI5 agent slowly interrupts the composition with the central character on the computer until the conversation is fully introduced by a cut in with a close up of the protagonist speaking. We then establish a shot/reverse shot by cutting into another close up shot of the other MI5 agent speaking with the protagonist. A non-diegetic track of an ambient, ominous effect will play throughout the dialogue.

Dialogue:
(Protagonist = Agent 1  / Second MI5 agent = Agent 2)

Agent 1: How is she?
Agent 2: I'm sorry to have to say this...
Agent 1: I assume she's under you're protection.
Agent 2: You're being discharged...
Agent 1: (slight pause) Why...?
Agent 2: (another slight pause) There was noth-
Agent 1: (furiously interrupts) After I went through all that crap just to get her! Why am I being kicked off the service?!
Agent 2: She's-
Agent 1: You know! You know what I had to do to complete the mission, goddamn it!
Agent 2: (Without hesitation) She's dead, agent...

The camera will stop on the protagonist in a close up position and very slowly zoom into his intense facial expression. The diegetic sound of the street slowly fades away and the non-diegetic sound of the ambient effect will fade into an increasingly loud train/airplane sound. All sound will abruptly stop and cut into an extreme close up of the protagonist's eyes with very low key lighting.

MUSIC ANALYSIS

THE DARK KNIGHT - WHY SO SERIOUS?



This is an orchestral masterpiece in my opinion. This incorporates and abides by many of the conventions seen in spy-thrillers that contribute to the narrative greatly. It sustains so much suspense and on-the-edge tension with the mass violins congestion slowly overlapping each other and growing louder and louder until it abruptly reaches a halts and transitions into a  faster paced, series of short bursts of violins and irregular trumps of loud drums. I believe this is great as it projects such a dark and ominous energy and somewhat brilliant for our production due to the levels of suspicion and mystery we are trying to achieve.



Here the 'Why So Serious?' OST is implemented in the scene where the Joker crashes the party and ridicules and threatens a member of the party. The music syncs in well with the narrative as it coincides and accentuates the distorted aura we get from the disturbing speech the Joker gives. The violins grow louder and louder as his knife nears the mans face and his voice becomes bigger. The soundtrack really does make an effect to the music as it brings an exaggeration to the conduction of the scene and provides more of an impact for the audience.

EQUIPMENT

Film cameras are used and produced today, especially for the production of full feature movies. Film cameras take a series of images; "frame". This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate". While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion.

As a class we are lucky enough to be using the latest handheld sony cameras that really make it easy to film and upload videos. Our teacher gave us a quick demonstration on how the battery works and what we needed to do to change certain settings. After the tutorial we used the camera to film the preliminary task and got a real feel of how they responded to certain lighting and movements. As a group we decided that the main priorites to dow ith the camera was the charging of it, safety and making sure the seeting configured to the scenes we needed to shoot.

A tripod is a portable three-legged frame, used as a platform for supporting the weight and maintaining the stability of some other object. A tripod provides stability against downward forces, horizontal forces and moments about the vertical axis. The positioning of the three feet away from the vertical centre allows the tripod better leverage for resisting lateral forces. Tripods have the disadvantage of being heavy and bulky although they can be used with large equipment.

Lighting illuminates the performers and artists in a live theatre, dance, or musical performance, and is selected and arranged to create dramatic effects. Dimmers, colored filters, reflectors, lenses, motorized or manually aimed lamps, and different kinds of flood and spot lights are among the tools used by a stage lighting designer to produce the desired effects. A set of lighting cues are prepared so that the lighting operator can control the lights in step with the performance.

A camera dolly is a piece of filmmaking production equipment designed to create smooth camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant, usually ride on the dolly to operate the camera.

Sound recording is a re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure and record them as a graphic representation of the sound waves on a medium such as a phonograph.