Thriller is a genre of film that uses a tough, resourceful, but ultimately realistic protagonist pitted against an antagonist that seeks to bring the downfall of said protagonist or whatever values they believe in. The typical thriller hero stands alone or among a small group of companions with less emphasis on each than the main character. Often the individual is an ordinary citizen faced with a struggle against an organisation or a large group. Many thrillers incorporate elements of other genres such as horror, detective fiction and espionage. Suspense is a pivotal element of any thriller film.
Thriller films differ from horror in the way they do not emphasise elements of fear only, or on 'adrenaline' in the way an action film would do. The problem presented in a thriller can range from small crimes to international conspiracy.
Opening scene synopsis for: Drive
Font and music hint at period or perhaps stylisation of the film where it may be ambiguous (1980s). Digetic and non-digetic sound is used. Sense of dynamics is given with floating credits, and with eye line matches used with Ryan Gosling. First shot of Gosling is low angle, suggesting his power within the film, he is also to the left of the screen, putting extra attention on him. Long cuts and low speed editing is used, gives an element of drowsiness to the sequence, and perhaps suggests Goslings character is losing sleep. His significance is suggested by having him as the only person actually shot in the sequence up until he passes a woman in the car park where he passes a woman, perhaps commenting on her returning in the picture. All shots of him are in low light, giving an element of mysteriousness. This is similar to the style of film noir. Many over the shoulder shots and close ups are taken of him, giving intimacy with his character. An element of insignificance is given to the character in relation to the city by many crane or ariel shots being presented, this is also sets up themes of an urban nature. The films title is reiterated with multiple shots of the character himself driving. He is presented as a lonely figure throughout the opening via the use of long cuts of only him and then of the city, also when he returns to a dark and empty residence. A sound match is deployed during the shot in the apartment when he turns of the light, emphasising the slick and dynamic nature of the film even more. A close up of his jacket is also given, suggesting its importance. Very few mid of long shots of the character are given, keeping him separate from what is going on around him, and also preventing the viewer from deciding what his place or role within the film is. The film is aimed (roughly) at an audience between 15 and 26 years of age.
http://www.youtube.com/watch?v=LtC64YfY61A
(no longer available)
Collateral
The title itself suggest multiple casualties or some violent connotation. It begins with a long to mid shot of Tom Cruise, who is a well known Hollywood actor, among a bustling crowd. All other people in the crowd are taken in and out of focus, suggesting his importance. Only digetic sound is used, creating a realistic setting, as well as it being open frame shots. The same shot is then used with Jason Statham, also suggesting his importance. Another close up of Cruise is provided, suggesting his significance over Statham. A match on action is used with them eventually bumping into each other, with a mid to close shot being given of their briefcases which they both put down, highlighting their importance. Short cuts are used and high speed editing, creating suspense.
Cut to a taxi bay, where many short cuts are given of the situation, with distressing music, creating tension. A close up of Jamie Foxx is then shown, and then shots of him getting into his cab. As soon as the door of the taxi closes, all digetic and non digetic sound is muffled, allowing us to focus in on Foxx. There are then more close ups of Foxx, and POV shots, giving us a more intimate view of him, as well as an eye line match. A low angle shot of a man, which then turns into a long cut and stationary shot of Foxx pulling away gives an idea of the banality of his life. The lighting used gives a lot more exposure of the characters, and is generally of a higher level to that of ,say, Drive.
This film is aimed at an audience between roughly people of 15-30 years of age.
Children of Men
Large and wealthy studio idents are used, showing budget of film would be great. Bold and plain credits are shown, creating realistic and gritty mood. Sound bridge used into first shot of aghast crowd in a coffee shop, creating solemn mood. Digetic sound is of a female news reporter accounting death of supposedly publicly recognised figure. All different demographics watching report suggesting importance of figure. Clive Owen enters shop, seeming uninterested by report, making him stand out from the crowd. A seemingly docile mood is created by long cuts and low speed editing. High angle shot of crowd is used making them look vulnerable. Only digetic sound used of busy city, giving a realistic mood. Cut to screen and then back to crowd, which turns into tracking shot to follow Owen out of the crowd and onto street, bringing all attention onto him, although panning up to screen once again before leaving shop. This again emphasises importance of death being reported. Long panning shot is given of street outside, establishing setting. Caption shows that we are in London, 2027. Digetic sound of city becomes louder and more intrusive, as emotive music from television is cut. This conveys the mood of Owen, who is detached from events around him. Suggestion of danger is given by warnings on buildings and heavy police presence. Mid shot, 180 pan is given of Owen, showing him in full. All in same cut, explosion in shop he was just in goes off. Sound left is of ringing and screams, city noise is cut out. This allows to focus in on explosion. Heavy surprise due to docile mood created by long cuts. Lighting and colour is dull with grey, murky shades. This all gives a sense of realism.
The Dark Knight
Warner Bros ident is in low light and shaded dark blue/grey, corresponding with title and theme, as are other idents. Long shot tracking into window over city where the audience is then thrown into the action with a match on action used with window smashed by criminals in clown masks. Masks create a sinister sense mystery. Low angle mid shot of another assailant on streets zooms into close up of clown mask, showing its significance. Cuts then become quicker as he enters van. Dialogue between both groups mentions Joker twice emphasising his importance. Low angle shots are given of original assailant on street , picking him out as powerful. Lighting is natural and cold. As robbers on ground enter bank, tracking shots follow the action in a fast paced manner. Two shot of men on roof, one behind the other, shows one shooting the other in the back. Long shots in the bank show the action as a whole. One assailant stands in-front of vault, with a pan onto the vault door as a imposing image. Many close ups of masks, and of grenades being put into hostages hands. As they enter the vault close ups of the money are shown, showing the point of robbery. As scene goes on the robbers are killed by each other, with there eventually being a face of between the last standing and the 'main' one. Tension builds up with close ups and fast cuts, with it eventually concluding with a bus crashing through the wall of the bank. All digetic sound is harsh and shaking.
Taxi Driver
Credits are red on black backdrop, suggesting blood, with sinister and ominous connotations. First shot is of smoke/water vapour, gives unclean feel. Lighting is low level, similar to that of film noir. Low level shot of cab, giving it power and presence, as it passes through the smoke. It passes to leave bold lettered title. Non-digetic music is tense and dramatic. Colour are presented as foggy and blurred. Extreme close up of De Niros eyes with coloured lights fading in and out, as though passing through city, gives intimacy and sense of changeable emotion. POV shot out of windscreen covered in rain shows distorted lights, gives a cold mood. Blurred and distorted images suggested distorted nature of De Niros mind. Contrast of smooth saxophone music and distressing crescendo in other tune give more sense of changeability. Crowded and dirty streets give seedy vibe, with De Niro looking on. Eye line match used frequently. Image constantly shrouded in smoke and lights. Film noir clearly an influence.
Psycho
Directed by Alfred Hitchcock
Starring Anthony Perkins, Vera Miles, John Gavin
Credits are in stark black and white, with grey lines running across the screen, creating an image of running blood. Credits them selves are distorted and broken at times, perhaps representing the flawed mind of the films culprit. The music is hurried, wavering and dramatic, creating an unsettled mood. The strings have a stabbing effect, pre-empting the events to come. The first shot is of a stark city landscape, from above. Low-level lighting is used, and as the film is shot in black and white, a film noir effect is created. This gives a dim and foreboding mood to the shot. A sense of detachment is given by lack of actual camera shots. Very little is given away by ending shot of city.
Double Indemnity
Directed by Billy Wilder
Starring Fred MacMurray, Barbara Stanwyck, Edward G. Robinson
Silhouetted figure presents mysterious themes. Information being kept from viewer, keeps people interested. Sinister music and crutched man give foreboding mood. Crutched man suggests theme of violence. Encroaching silhouetted figure gives idea of impending doom. Introduction and credits fairly typical of period/film Noir. Man finally reaching foreground with music reaching crescendo gives opening a definitive and dramatic ending. Long shot of man on crutches suggests his later importance within the film. First shot is of dimly lit main street, presenting only that the film is taking place in Los Angeles, this too is typical of Film Noir style.
Se7en
Directed by Arnold Kopelson
Starring Morgan Freeman, Brad Pitt, Gwenyth Paltrow
Distorted and ugly music, with non-digetic sound effects. Ugly images shown, such as picture of broken hands, man removing fingerprints, suggests themes of films. Picture has effects put on it, such as red colouring (symbolises blood), and is jumpy, although film is flawed. This is all linking to damaged mind of killer. Noises used are harsh and grating, some sound like stifled screams or cries. Images are broken and jumpy, music has effects on to give a warped effect (phaser). Writing is featured countless times, with words being written and blacked out, hinting at psychological themes and intelligence of culprit. Images and words being blacked out are symbolic of murders. Pages of books being turned represent unfolding story line to come, and perhaps a twist. Music incorporates both digetic and non digetic-sound to create sense of confusion and panic. Everything is warped and tampered with (sound, images and picture itslef) to show warped nature of characters and plot. Colours used are bland and dark. Sound bridge used to take us into first shot; sound being that of a police siren and general city noise, the shot being large, towering buildings of what appears to be inner city new york. Everything deployed by the director creates a depressing, twisted and dark mood to take the viewer back into the film, following the scene prior to the credits, which, in its own nature, is also twisted and somewhat revolting.
Thursday 6 September 2012
Music Some artists I enjoy and the labels that carry them:
Pearson Sound - Hessle Audio
Burial - Hyper Dub
Disclosure - Greco Roman
De La Soul - Warner Bros/BMG
MJ Cole - Talkin' Loud/Prolific Recordings
Coki - Tempa
El B - Tempa
Mount Kimbie - Warp/Hotflush
Mobb Deep - Infamous Records/Sony Music Entertainement/G-Unit Records
ENCHANTE - Greco Roman/Crazy Way Trax
Places I find music:
Soundcloud
Hush House blogspot
MTHRFNKR blogspot
Youtube
NME Magazine
Amplitude Magazine
Future Grooves blogspot
Boiler Room
Film Some of my favourite feature films and their directors:
Se7en - Arnold Kopelson
Pulp Fiction - Quentin Tarantino
Fight Club - David Fincher
Raging Bull - Martin Scorsese
Lord of the Rings Trilogy - Peter Jackson
The Wicker Man (1973) - Robin Hardy
Human Traffic - Justin Kerrigan
Trainspotting - Danny boyle
24 Hour Party People - Michael Winterbottom
A Clockwork Orange - Stanely Kubrick
Television Some of my favourite television shows and the channels that air them:
