Opening scene analysis: Drive

Drive

Director: Nicolas Winding Refn
production company: FilmDistrict 
Distributor: FilmDistrict, Le Pacte, Wild Side Films
Domestic Box Office:  $35,060,689
year: 2011

The establishing shot starts with an aerial view of Los Angeles at night. The beginning of the title stream starts of with Ryan Gosling the protagonists, this is done to attract the viewer to continue to watch the film - since he is a well known actor, it then fades into a worms eye view of the protagonist sat in a car, with powerful, under control body language. The shot is held for longer than the audience would expect until the title of the film is boldly projected in front of the shot.

The following shot in an over the shoulder shot of the main character driving the car, the camera is focused on him and not the surroundings however the blurred lights still add to the feel of the city at night. Here the name of the actress is shown in the same continues flamboyant font and colour as before, the font is in contrast with the Neo-noir genre which is indicated by the modern city at night and the bright primary coloured lights . A list of actors names slowly fade across and off the screen.

In this point of view shot, the audience is given insight to the location along with still being able to see the character. The bright colours from the city lights compared to the dark night are still being continued through the scene. The lights slowly dip in and out of showing Ryan Goslings face as a side shot.

The scene then goes back to an aerial view of connecting roads. The titles are in a pleasing position to the composition, taking into consideration balance and shape. 

A medium close up is then faded onto an aerial view of roads, with the title well placed. With this shot ends the beginning of setting the scene, as the camera pans to the car being parked in an underground parking lot. 

Here we can see a change of colour to a blue hue, along with the audience still being informed it's night from the dark surrounding area. From this two person over the shoulder shot we start to see more exposition because the audience can see the protagonists outfit, the 80's scorpion bomber jacket  adds to the mise-en-scene of modern Los Angeles night time with flavours of the 80's. 

In this very long shot the leading main character is introduced by a smooth passing of characters, this adds to the shot variety. 

The next shot is a tracking shot showing Ryan Gosling enter an apartment and look around, this gives the audience a little more indication of the exposition. The colours and lighting are similar however there are no brightly coloured red or yellow street lights but a soft yet strong blue light coming in from the window bring night time in LA into the apartment. 

After the audience sees the protagonist leave the apartment, the shot turns back into an aerial shot of the city at night with more text/titles once again complimenting the composition. So far this doesn't give the audience more on the exposition.

The audience is then again bought back to an over the shoulder shot where we can see the characters point of view. The titles end with the directors name and slowly fades away, this signifies the closing of the opening. The narrative enigma is limited as the audience has to place together whats happening and where the driver may be going. 

Kavinsky's Nightcall was the music used in the opening of this film, to set the scene of an upbeat dramatic Los Angeles at night. The beat slows and the vocals are emphasised more as Ryan Gosling enters, stays, and leaves the apartment, this could have been done so that the audience focuses more on the small indication to narrative enigma. The fading of the song also gives indication to the end of the running time of opening.

THE BRIEF

Your mission is to carry out the following brief:

Preliminary exercise: Continuity task involving filming and editing a character

opening a door, crossing a room and sitting down in a chair opposite another

character, with whom she/he then exchanges a couple of lines of dialogue.

This task should demonstrate match on action, shot/reverse shot and the 180-

degree rule.

Main task: the titles and opening of a new fiction film, to last a maximum of

two minutes.

All video and audio material must be original, produced by the candidate(s),

with the exception of music or audio effects from a copyright-free source.

The coursework is worth 50% of the AS (same at A2) and the marking

(detailed later) is divided into 3 sections:

1 RESEARCH AND PLANNING: 20%

2 PRODUCTION: 60%

3 EVALUATION: 20%

Your work is marked partially on my observations of your approach and level

of organisation, but fundamentally its a DVD and your blog that are marked.

All three aspects are assessed as one of the following:

MINIMAL, BASIC, PROFICIENT, EXCELLENT

You are all capable of meeting the assement criteria of EXCELLENT!

RESEARCH & PLANNING

To hit ‘excellent’

(16-20 marks):

1 There is excellent research into similar products and a potential target

audience.

2 There is excellent organisation of actors, locations, costumes or props.

3 There is excellent work on shotlists, layouts, drafting, scripting or

storyboarding.

4 There is an excellent level of care in the presentation of the research and

planning

5 Time management is excellent.

EVALUATION

To hit ‘excellent’

(16-20 marks) requires meeting the following:

1 Excellent understanding of issues around audience, institution, technology,

representation, forms and conventions in relation to production.

2 Excellent ability to refer to the choices made and outcomes.

3 Excellent understanding of their development from preliminary to full task.

4 Excellent ability to communicate.

5 Excellent skill in the use of digital technology or ICT in the evaluation

PRODUCTION

To hit ‘excellent’

(48-60 marks) requires meeting the following:

1 There is evidence of excellence in the creative use of most of the following

technical skills:

2 holding a shot steady, where appropriate;

3 framing a shot, including and excluding elements as appropriate;

4 using a variety of shot distances as appropriate;

5 shooting material appropriate to the task set;

6 selecting mise-en- scène including colour, figure, lighting, objects and

setting;

7 editing so that meaning is apparent to the viewer;

8 using varied shot transitions and other effects selectively and appropriately

for the task set;

9 using sound with images and editing appropriately for the task set;

10 using titles appropriately.

WHAT TO LOOK OUT FOR/NOTE/DISCUSS

SECTIONS/THEMES: You could simplify this to the 4 technical areas you

have to consider for your exam, which would help you sharpen your skills for

it. Use the handouts with summaries of key terms to help with this. (Don't use

numbering in your sub-headings)

• cinematography (camera work, shot types, angles, framing, movement)

• editing (including transitions, SFX; linear or non-linear; (dis)continuity etc)

• sound ((non-)diegetic; use of music [often signifies core target audience +

genre - can also be clumsy and overused; say so if you think so]; audio

bridge; voiceover etc)

• mise-en- scene (includes props, locations, costume, makeup -

verisimilitude?)

You also need to analyse representations in your exam. Titles and idents are

also an important part of openings. A non-Media student will invariably focus

on narrative and give a linear description (this happens, then this happens...).

Narrative is useful to note, but be brief, and focus as much on exposition

(what and how much/little info is provided for the audience on time period,

location, key characters, genre etc; its likely narrative enigma will be

employed to some extent). So, narrative/exposition is a useful heading.

Also worth considering:

• intertextuality (links/references to existing texts)

• genre conventions observed ... or broken (very useful to note so you can

find examples to look back on when designing your own work. you

could also note hybridity here, where you see signifiers of 2 or more

genres [to help widen audience appeal])

• how the opening concludes and the main movie resumes (the final shot of

your opening is incredibly important, so its worth carefully noting these)

• particularly useful shots/details - if you see something you think is well done

and you might want to take influence from its worth highlighting

Again, I'm not setting out any compulsory sub-heading titles; pick your own,

just make them clear and stick to the same wording across all your posts.

If you've already done some posts which focus simply or narrative, or don't

clearly set out useful info in a way you will be able to quickly find it in future,

edit such posts. Remember, you're marked on blog presentation too.

• IDENTS: How long are they typically, how high-tech/complex; how many do

we see; where do they appear

• TITLES: This is a key part of your overall coursework task, so detailed notes

are important. Which roles/companies are noted; what specific

language is used; do any names/companies appear more than once;

what font (serif/sans-serif; colour; case) is used; note the positioning

(does this differ between titles) and any animation; any graphic element

to the titles; is there a gap between titles or do they continuously appear

(eg company names - A Warp Films Production - a gap then individual

credits?)

• OPENING SHOT: always worth noting. Any audio bridge linking it with

idents?

• RUNNING TIME OF OPENING: How long is the self-contained opening

sequence? Is it clear where this ends?

• CLOSING SHOT OF OPENING + TRANSITION TO MAIN BODY OF FILM:

Always note the final shot too. Do you get a fade-out or other transition

or a straight cut? Are titles used to reinforce a change of location/time

immediately after the opening ends?

• EDITING: any transitions to signify ellipsis; any SFX; continuity editing style

or any hallmarks of discontinuity?

• LENGTH OF TAKES + EDITING PACE: looooong takes or fast-paced

editing with short takes? much variation in this? Simply by following one

character/keeping referring back to them also suggests to the audience

that they are a central character.

• SHOT VARIETY: ask yourself as you watch these whether you think further

shots should be inserted - is there sufficient shot variety? This and the

above point are linked. Look for simple things too like two-shots used to

signify personal relationships.

• MISE-EN- SCENE: This links to the above point: what does the mise-en-

scene communicate to the audience (providing exposition on location,

time period, genre etc)? Is verisimilitude achieved (can you see

evidence of costuming, set-dressing, props etc)?

• SETUPS/SCENES: Each time you leave a room or other part of a location

you have to work to setup the next scene: how many setups or scenes

are involved?

• FLASHBACKS/MAJOR ELLIPSIS: Halloween is one of many that opens

with events and then gives a title stating x years later so we know we're

now in the present.

• NARRATIVE ENIGMA V EXPOSITION: What do we learn about setting,

time period, narrative, characters, genre - and what is intentionally

withheld? Do we appear to meet antagonist or protagonist/s? You could

also comment here on plot, cliffhangers etc

• SOUND + MUSIC: Note use of diegetic and non-diegetic sound.

Specifically, how is music used, if at all - is it continuous; are multiple

music tracks used; does the volume level rise? Does the music genre

seem to hint at the target audience and/or genre?

• GENRE SIGNIFIERS: Do you see anything which seems to point towards a

particular genre?

• INTERTEXTUALITY: Are there references to existing texts?

• REPRESENTATIONS: Use of stereotypes, countertypes, a mix of both?

When looking at horror openings, be alert for stock characters like

scream queens, masked killer, jock, nerd, final girl, ineffective

adult/authority figure etc

• GENRE/BUDGET/ERA SPECIFIC? You'll find that conventions have

changed over time and also vary with budget and genre.

MEMORABLE ASPECTS: Quite simply, anything you thought was particularly

interesting or noteworthy. Especially as you begin to work on horror openings,

you should note where you see useful examples of costume, dialogue, editing

etc which you may well take direct inspiration from.

THE BRIEF

Preliminary exercise:

Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.

Main task:

The titles and opening of a new fiction film, to last a maximum of two minutes. All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source.

BASIC MARKS BREAKDOWN:

RESEARCH & PLANNING 20%

PRODUCTION                                  60%

EVALUATION                                 20%

MARKSCHEME

All three aspects are assessed as one of:

Mark out of:    60        20

MINIMAL      0-23     0-7

BASIC                        24-35   8-11

PROFICIENT 36-47   12-15

EXCELLENT 48-60   16-20

To hit ‘excellent’(16-20 marks) for RESEARCH AND PLANNING requires the following:

•Planning and research evidence will be complete and detailed;

•There is excellent research into similar products and a potential target audience;

•There is excellent organisation of actors, locations, costumes or props;

•There is excellent work on shotlists, layouts, drafting, scripting or storyboarding;

•There is an excellent level of care in the presentation of the research and planning;

•Time management is excellent.

To hit ‘excellent’(48-60 marks) for PRODUCTION requires meeting the following:

There is evidence of excellence in the creative use of most of the following technical skills:

•material appropriate for the target audience and task;

•using titles appropriately according to institutional conventions;

•using sound with images and editing appropriately for the task set;

•shooting material appropriate to the task set;, including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scène;

•using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects.

To hit ‘excellent’(16-20 marks) for EVALUATION requires meeting the following:

•Excellent skill in the use of appropriate digital technology or ICT in the evaluation.

•Excellent understanding of issues around audience, institution, technology, representation, forms and conventions in relation to production.

•Excellent ability to refer to the choices made and outcomes.

•Excellent understanding of their development from preliminary to full task.

•Excellent ability to communicate

Opening Scene Analysis

The Darjeeling Limited

Director: Wes Anderson

Production Company: Fox searchlight

Distributor: Fox searchlight

Domestic Box Office: $11902715

Year: 2007

The establishing shot starts without any titles however jumps in with an extreme long shot zooming in to a long shot, this allows the viewer to get a feel for the location/scene setting, the zoom into the long shot gives focus to the who or what the story line is following. The colours are warm and the music is apt to the setting and portray the mise-en-scene of the film being representation of a bustling city scene in India/southern Asia. The pace and mood of the opening is one of urgency that leads the drama.

The following shots start with showing the road and scenery which adds to the exposition. after this the audience is finally introduced to the protagonist after a continued shot that first features the driver then moves to the main character - Bill Murray- which looks out of place with his costume compared to the location and the taxi driver. The dramatic direction also shows the audience that the character is worried and on the edge, this is filmed as a two shot.

Next is a shot is a cutaway that follows the car as it drives though the street. We can see more of the mise-en-scene with the details such as the taxi drivers beard and turban, and the Sikh flag hanging from the rear view mirror. The viewer then sees a medium close up of the driver which quickly changes to a close up shot, this could be seen to reflect the stress as the diver is previously informed of the fast and chaotic driving from the pervious shot of the car, this is solidified by next showing the viewer the scene of the road the driver sees, adding to the narrative enigma. The viewer is reminded of the stress the protagonist is in with the next medium close up of him checking his watch.

The next few shots repeat a similar shot variety pattern of using medium close ups, closeups, cutaways, and two-shots. This could be seen as too repetitive or boring however it could also be used purposefully to build up tension for the protagonists situation. As time goes, just before the driver stops, the music seems to become slightly louder along with the sound effects such as car horns becoming more prominent to signify stress as well, along with short paced fast editing.

This shot shows good variety without having discontinuity, it is a mid shot showing the protagonists movement, the fact it shows the back of him as he leaves makes the viewer feel as if they were in the car with them making the audience want to follow him.

The location changes as a tracking shot follows the main character through the busy warm station keeping with the mise-en-scene. The running solidifies the stressful situation of the signified lateness.

The over the shoulder shot introduces the first narrative in the film - when the protagonist realises he sees his train and that it is leaving. The director didn't use a tracking shot to film the train leaving but a wide shot to show the character doesn't have much hope of catching the train. However perseverance can be seen as a tracking shot captures the character running to catch it, weaving his way through the platform.

After the train seems to be out of reach a mid shot shows the first detail of the train with a contrasted stress free young man looking on to the platform, the camera then moves down to finally reveal not just the title of the film but the name of the train also.

As the next tracking shot shows the protagonist running and shouting for the train to wait, the audience builds up more sympathy for the man. We start to see another man coming out from behind him running for the same train, in the same tracking shot. They look at each other and take a double glance before the music changes to more folky tune, unfitting to the surroundings.

This new character is then followed by a tracking shot in as the viewer sees him run toward the train in slow motion, contrasting the fast stressful pace up until this point. This gives the audience time to collect thoughts and adjust to this new character.

From this long shot the audience are being shown that this new character is who the story line will (also) be following, the transition between characters is signified by the music and the fact the original protagonist is being left behind as the new character looks upon him.

The opening ends with the camera no longer following the original protagonist, but now the new main character with a moving medium close up as he enters the train with relief. The closing shot of the opening and the transition to the main body of film leads the viewer to believe the story line will be following a certain character however changes this near the end. This leaves the audience searching for a link between the two characters as they carry on watching the film.

A memorable aspect of this film would be in which the way in the director composed the shots, he uses symmetry in many of them to create pleasing and beautiful images. As explored here-

Another memorable aspect would be the way in which the camera shots are hand held making them more shaky, this may be to emphasis the urgency of the opening scene and the stressfulness of the situation.

Mommy

Director: Xavier Dolan

Production company: Les Films Séville

Distributor: Roadside Attractions

Year: 2014

Domestic Box office: $3,494,070

Mommy is one of my favourite films not just because of the cinematography but also because of the way the director chose to set out the film. Firstly I really like the way in which the director uses a 1:1 ratio when shooting, this is done because looking at a moving image set in this ratio is hard to follow as your eye naturally wants to flow from side to side when watching something, however when this is disrupted such as the square format that this is set in, your eyes find it harder to follow. This then makes viewing subconsciously more difficult, this may be seen as a bad thing however this was done purposely to reflect the hardship the character is going through in that time of the story line and to make the audience connect to the character more. This is also subtly followed through by the screen opening up to the 2:1 ratio when times in Steve's (the protagonist's) life improved. I find this clever and inspiring as I really like films which try to connect with the audience as much as possible, and the way in which Xavier Dolan does this is clever as the connectivity is not obvious to the blind eye but is definitely there. Secondly I like the way in which the the set gives visual metaphors to the story line in that scene, such as when Diane the mother Steve is seeking help and and finds it as she looks through the dirt ridden murky window reflecting the murky situation she's in. Near the end of the movie there is a utopia like scene where everything the mother wants occurs, this leads the viewer in to false hope and victory for this character which is then shown to the bower as just being a dream, I like how this was included as it also connects the viewer and shows them the emotion the character must be going through. Finally the cinematography is also unconventional beautiful, the composition, colours, and location add to the juxtaposition of the film being raw and violent but also beautiful and prepossessing.

Introduction

Hi, my name is Sophie Ferreira I have had a passion for film and cinematography for quite a few years now, and I am really interested in going into film making and other types of visual art. For me film is an art form that easily allows new worlds and ideas to take place along with beautiful imagery. I also appreciate film with good cinematography as it doesn't just tell the story through the narrative but also through the shots and the way they are presented. Media that has influenced this preference includes films such as Into the wild and directors such as Wes Anderson. The way in which film can be used to evoke emotion or shots can be used in particular ways to convoy the feel of the scene I am really interested in and see it as a form of conceptual art. I do not have a strong particular taking to any genre but enjoy it as long as it's clever, well done, or has aesthetically pleasing imagery.