Prelim task

Soundtrack - initial notes

We feel that to have a soundtrack to the background of our thriller opener would be a great effect which is used in nearly all successful thrillers. Having listened to a selection of songs and bounced different soundtrack ideas off of each other, we found that this song 'Club Foot' by Kasabian would be an ideal song for our opening, as it has the exact right feel about it and would fit perfectly into the opening shot when Joules is stepping off of the train and walking through the station. Our idea that the song would work well in a thriller is supported in the video itself when the time is at roughly 1:18, the makers of the video include a handgun, which is a generic signifier of the genre. Also at 2:04 you can see a briefcase being used, another signifier which we ourselves are using in our film.
Obviously, because of the ruling that we're not allowed to use copyrighted songs by signed artists in our videos, this particular song is not a possibility. But we may well look for other alternatives for a soundtrack by unsigned artists who might have a song giving a similar effect to this kasabian classic.

Soundtracks and thriller film genre reseach


Pulp fiction
-Dick Dale ''Misirlou''


No film score was composed for Pulp Fiction, with Quentin Tarantino instead using an eclectic assortment of surf music, rock and roll, soul, and pop songs. Dick Dale's rendition of "Misirlou" plays during the opening credits. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: "To me it just sounds like rock and roll, even Morricone music. It sounds like rock and roll spaghetti Western music." Dick Dales rendition of ''Misirlou'' is as famous as the movie its edgey fast pased famous guitar riff opening perfectly sets the film that follows.

Reservoir Dogs -
George Baker ''Little Green Bag''


Original released in 1969 'Little Green Bag'' was written by Jan Visser and George Baker. In 1992, when the song was used in the film Reservoir Dogs featuring during the iconic ''hero walk'', it became an international cult classic. Tarantino has said that he feels the music to be a counterpoint to the on-screen violence and action. He also stated that he wished for the film to have a '50s feel while using '70s music.



http://www.unsignedbandweb.com/

From searching unsigned bands in google we found this website. The allows unsigned artists to make an account and uplaod their music, giving chance for downloading and artist information. The site is divided by artist and genre. There is an very good extensive varitey of genre From christian rock to ska. We searched through genres we felt where relative to are film - instrumental, alternative, jazz, big band and blues. Finding several good tracks we saved them to a memory stick. The site is brilliant and we will be looking further into the site.

Costume - initial notes

The costume that we intend to use for the characters in our film is a modern smart, formal dress (for example suits, briefcases, overcoats and flashy jewellery. We decided to have the characters in the proposed costume because it reflects our characters as being fairly 'well-off', high up in society. A character in smart dress conotes importance and strenght. For emaple in 'Resiorv Dogs all the powerful, strong male characters are in suits, they stand out to be important, the way they dress shows that they are in control.

 Joules is business man character and will be wearing a full suit, long jacket and smart shoes to reflect this. He will be also wearing a designer watch and have a briefcase with him. The watch reflects Joules obbession with his look and 'youthful' cockiness. The briefcase - the generic sig, is large and black.

Christian will also have a very similar dress and some rings and a  watch more 'gentlemen' to clearly establish his wealth and importance in his particular business, possibly a cigar on-the-go too could also give connotations of the kind of character we are trying to achieve. Christian is a smart and flashy but not to the extend of being cocky like Joules.

Briefcase
Generic convention

In thriller films briefcases are used to carry illegal items - stolen goods, documents etc the briefcase decises these items it conceals the occupiers attentions and goods. A briefcase could hind the occipiers emotions - remorse they are detacthed from the moral imlications of the crime. The briefcase could also seperate the occupier from the crime, it is a metaphorical brick wall. Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. The dress-suited pair  (John Travolta as Vincent Vega and Samuel L. Jackson as Jules Winnfield)are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace. Marsellus Wallace's briefcase in Pulp Fiction basically serves as the item that the drives the plot and yet which contents are never revealed. Subsequently, much speculation has arisen as to what the significance of the briefcase is and what it contains.

Our inspiration for the costume for the opening of the triller film came from watching other thriller films where with similar smartly dressed chracters which where powerful criminals who where street wise and well dressed.  We looked Pulp Fiction, Casino Royle and reservoir Dogs. All of which have male leads who are ingaged in criminal activites, are powerful, street wise, flashy and smartly dressed, they are in control.

Casino Royle

James Bond is know for being well dressed, suited and booted. His dress reflects his self control, power and social status. What ever situation he gets in Bond is always smart.

Pulp Fiction

Isabella

Isabella is well dressed and is dressed suitable to portray a costume of that of a modern femme fatale in the case of Isabella she dresses flatteringly, tight skirt, shirt, long winter jacket with a fur trim, ankle boots. Her costumes reflects her well off, high social status and her personal importance to look good.

Make - up
Dark strongly defined eyes connote confindence and strenght.

The eyes are framed drawing the audiences attention to them.

Red lips draw attention also connoting confidence and strenght and divience.

The fur coat simblises Isabella's wealth and status. A fur coat is a luxary item and shows the auidence that Isabella is wealthy, well fashioned and concerned with her appearence but not nesscercelly what people think of it; the fur coat could also symbol individuality and diversity, standing out making a statement, a fur coat is seen by some as a 'taboo' item of clothing to wear.

The tight pencil skirt and ankle boots and feminine and reflect Isbella's deviant nature. The shoes are patent and black similary is the skirt they are matchingly smart to Joules and Christains dress and being black they do not stand out, they make it easy to lurk in the darkness. Isabella's dress in strong and invidual smart and apprioately reflecting her character.

Dress experimentation 1


First experimention with dress


Long beige coat
Lace tights
White shoes
Red lips
Dark Eyes
Suitcase

The coat looks good and fits the ideology of the character
The shoes look good but these may be changed for boots for convience in a later scene.
The red lips and dark eyes look striking and also fit well with character ideology.
The suitcase is smart and again fitting to the character.
Overall this costume fits the character ideology and reperesents the character suitably and as entended. The costume makes Isabella look confident and sophisticated.

Developed synopsis - locations and character profiles

Christian

Age: mid-40's

Actor: Martin Lambert

Christian is weary of his daughters lover, Joules, and does not like his daughter being with him. Christian has a controlling and obbessive relationship with his daughter.

 Isabella
Role: Sleek, street-smart, deviant, sophisticated, daughter of Christian, Joule's lover.
Age: early 20's
Actress: Isobel Bailey

Isabella murders he lover joules, stabbing him in the heart. Isabella has an obbessive relationship with her father and kills Joules to please him, as well has getting a twisted pleasure out it herself.

Joules
Role: Isabella's lover
Age: Mid 20's
Actor: Harry Ewing

Joules, Isabella's lover is unware of the obbesive, controlling relationship of his lover Isabella and her father, he is murdered by his lover.

The interception by Isabella in the taking-back of the money, and murder of Joules. Isabella deceives her father and attempts to take off with the money Christian has just handed over to Joules. Isabella's intentions are to get away from her Father and the criminal world she lives in, without him finding out.
- Joules gets off train carrying briefcase A


- H
e walks through the station to station entrance and looks at watch


- Camera cuts to Christian in stationary car, who also looks at watch


- Isabella walks into shot in Christians car headlights (POV shot through windscreen) - close-up of Christian's eyes shows his confusion to her whereabouts (why is she there?) establishing her character as having some kind of relation with Christian


- Christian's phone rings, hearing 'i'm on my way etc.' and hangs up


- Christian gets out of his car


- Cuts back to Joules also hanging up,
who continues walking out of station and through street


- Mid shot Joules framed in door way - framed in fate!


- Camera cuts to Joules arriving at meeting destination


- Joules sees Chris' shadow/hears footsteps approaching


- Switch of briefcases is made - handshake


- Chris walks off out of shot


- Joules looking smug, walks off round corner, followed by camera


- Isabella is seen lurking in the shadows


- Close up of boot only handle of knife is seen.


- reveals knife from her boot


- shot of Joules' shadow on wall with Isabella
 approaching behind and attacking with knife, falls to the ground


- Isabella retrieves briefcase B and walks off


- low angle shot of Isabella walking off with Joules' hand in the foreground
- focus changing from Isabella to hand


- Close up of Christians hand hanging out of car window
- watch further establishes link of relationship between Christian and Isabella.


- Outcome- Isabella murders Joules without the knowledge
her father and takes the money with the intention of running away thus deceiving her father.


- Isabella walks away (note the close-ups of hands) a close-up of a hand on her shoulder creating suspense. Who's hand is it? A partner who she is also running away with? Her Dad?

Development



Extreme close up of  Joules'swatch - tilt shot - inter textual reference to 'The Third Man'.
Christian's car
- Cuts to Christian in stationary car, who also looks at watch - links characters and scenes

Extreme close up of watch - tilt shot


Different watch establishes different character and personality.
- Christians hand on steering wheel

Mid shot Joules framed in door way - framed in fate. waiting for Isabella

-Isabella arrives to meet Joules.

Cut back to Christains still waiting in car

Joules and Isabella walk off, headlights can be seen following them, but they do not notice.
Joules and Isabella imbrace, Joules falls/slumps to the ground, Isabella is froze is horror blood can be seen.
Christian grabs/ hand on Isabella's shouldier.

End.

NEW (15/1/10)


Location
Isobel Bailey's house


C.U of reflection in mirror of Isobella putting on lipstick
M.S of Isabella packing last item in suitcase
C.U of Isabella picking up suitcase
M.S of Isabella walking to notice board
C.U of Isabella getting adress
M.S from strairs of Isabella leaving out door
C.U of hand on knob
As Isabella leaves though door, shadow/figure can be seen behind her. Use of glass doors.

We revised are plot because it was too complicated. Instead of the original idea of having a exchange between Christian and Joules, with Isabella intercepting. We felt that we needed to change are idea to make it more controversal, engaging and interesting.

We have cut the shots of Isabella leaving as these are boring and unessery.
We have cut the CU's of the watch/s as these are now not needed.
We have cut down the number of shots in Isabella's house.

Final narrative

CU of Christain in car behind steering wheel
Keeping shots of Isabella getting reaady
CU of isabella's eyes whilst smoking
cuts to CU of Christian's eyes - as if looking at one another
CU's of Joules waiting
CU's of Christain
Isabella and Joules meet, embrace etc
Joules is shot by Christian.

Isabella murders he lover joules, stabbing him in the heart.
Isabella has an obbessive relationship with her father and kills Joules to please him,
as well has getting a twisted pleasure out it herself.

Christian is weary of his daughters lover, Joules,
and does not like his daughter being with him. Christian
has a controlling and obbessive relationship with his daughter.


Shooting Locations

Isabella's house
Christian's car
Castle gardens - meeting place
Allyway

All props and costumes are the same.

Alfred Hitchcock: The Master Of Suspense Thrillers

No list of suspense or thriller films can be complete without mention of English film-maker/director Alfred Hitchcock. He helped to shape the modern-day thriller genre, beginning with his early silent film The Lodger (1926), a suspenseful Jack-the-Ripper story, followed by his next thriller Blackmail (1929), his first sound film (but also released in a silent version). Hitchcock would make a signature cameo appearance in his feature films, beginning with his third film The Lodger (1926), although his record was spotty at first. After 1940, he appeared in every one (in Rope he gets of a bus in the opening) except for The Wrong Man (1956). Alfred Hitchcock is considered the acknowledged auteur master of the thriller or suspense genre, manipulating his audience's fears and desires, and taking viewers into a state of association with the representation of reality facing the character - In Rope Phillips constant guilt and remorse over strangling an innocent friend to death, David. Hitchcock's films often placed an innocent victim (an average, responsible person) into a strange, life-threatening or terrorizing situation, in a case of mistaken identity, misidentification or wrongful accusation (i.e., in Rope, the brutal murder of an innocent victim - David).

The famed director often capitalized on a 'red herring' or gimmicky plot element to catch the viewer's attention - dubbed a McGuffin (or MacGuffin), that would propel the plot along its course.

Hitchcock usually cast leading actors against type (Gregory Peck, James Stewart, Cary Grant) opposite cool blondes (Madeleine Carroll, Joan Fontaine, Ingrid Bergman, Grace Kelly, Kim Novak, Janet Leigh, Tippi Hedren, Lila Crane - Psycho) who were often subject to misogynistic abuse, threatening humiliation, or murder - femme fatale. Hitchcock would then explore the darker sides of human nature through the situation, including sexuality and voyeurism, guilt and punishment, or paranoia and obsession, an example of this in Rope Brenden becomes obsessed by the intellectual concepts of Nietzsche's Übermensch and the art of murder, a means of showing one's superiority over others, a dark obbession which leads to a brutal murder of one of his college friends. Hitchcock  usually let the viewer know that some horrible event would happen - creating unbearable suspense while viewers waited for the inevitable - the opening of Rope is a hight angle shot over a bustling street below, calm and ordinary, the camera then pans round to a upper apartment window with the curtains shut, the camera sits still for a couple of minutes - creating suspense and preparing the audience for the horrible event behind the curtains.

An example of HItchcocks' cool blondes- Lila Crane from Psycho, Lila runs away with a vast amount of money she has taken from her boss and ends up being brutally mudered at a motel she stays at by a dark twisted man.

Thriller planning - initical loactions ideas

Thriller planning - location ideas

Norwich train station.
Planning to feature train in thriller film opening.
Shots inside and outside trains station.

Trowse

Trains run though Trowse good place for train montage. Shots of train going under bridge and can be followed as far as Trowse Mill, with good spots for shots which can be done safely.

Once Upon a Time in America- Thriller reseach

Once Upon a Time in America

Director

Sergio Leone
Date of release

1984

Production companies

Embassy international pictures

PSO international

Warner Bro's, pictures

Filming Locations
Chambers Paper Fibres, Plymouth Street, Brooklyn, New York City, New York, USA
Cinecittà Studios, Cinecittà, Rome, Lazio, Italy
(studio)


Auidence


User ratings
 From using the figures on IMDB this film is show to be most popular amongst males under 18 and males aged 18-29. This is a demographic of the typical auidence for this film, males between the age of 18 and 29.


User comments


IMDB user:
'A sprawling, deliberately paced, and generally a superbly crafted piece of work'


'It's been said that when one watches a "spaghetti" western (one of the "Man with no name" films with Clint Eastwood) filmmaker Sergio Leone's trademark cinema style and flair for clear storytelling is instantly recognizable. This is no truer than in his most ambitious effort, Once Upon a Time in America, in which his usage of close-ups, concise camera movement, sound transitions and syncs, and the sudden change in some scenes from tenderness to violence.'
Author:
JackGattanella from United States, 19th October 2003.


External review (to IMDB)

'Once Upon a Time in America is an outstanding film on several levels. Its length and its impeccable attention to period detail give it the feel of an epic. But at its heart, it is the story of one man's journey through life, and the price he's paid for the choices he made along the way.'

Author:

Dana Knowles, June 1999.

How does Sergio Leone ultilise the generic conventions of a thriller film in 'Once Apon a Time in America?

Extreme close up, utilised to involve the audience in te action. This is the establishing shot of Eve at the beginning of the film. Her face is illuminated by the glamourous tiffiny lamp, and the audience see her face propably for the first time in portrate. Eve is presented as the 'classic' (thriller) femme fatale; pale skin, red lips, perfectly mangered tightly curled hair and a glamourous hat suitably perched on top. The lamp indicates her glamour and asthetic values, she cares and take pleasure in her appearence.  The shots are simple, and dramatised with the use of chiaroscuro lighting and compostion.

Sergio utilses the theme of murder and crime with this high angle shot of the bed with bullets holes in the shape of a person similar to that of a 'murder etch' it and thus introduces the theme of fear and murder. The high angle shot is used to make Eve look weak, powerless and out of her depth. The bullet holes in the bed are a warning to Eve, a threat. This theart indicates to the audience that Eve is in trouble, and most posibly get murdered. The utilisation of chiaroscuro lighting is used to reinforce the sense of nightmare and suspense.

Eve fits the generic thriller archetype of a femme fatale. Her dress is generic of a  femme fatale, dark red lips, tight skirt, long glamourous coat. Her dress exposers her to the violence of males, she is dressed in a way that  is provoctative and alluring, which is at her weakness. She has high asthetic values and takes care in her appearence. Eve is ultimatly murdered for her reluctence to reveal the where abouts of her lover Noodles, who is a gang member. Eve's relationship with Noodles ingages her into this crime world, in which she does not belong.