Opening sequence & Film

This is the Final cut of my film with the opening sequence added to the beginning of the film, 'Obsessed'. The credits and sound are not added to the opening sequence yet.

Final cut with half the dialogue on the last scene.

I have taken the sound from the clips of the actor playing the character of 'Rory' and edited them over the clips for the last scene in my short film (which had no dialogue before this) the benefits of doing this meant that the sound is clearer and crisper than how the original sound would have been due to the wind and street noise. The only problem was that because the sound was recorded in a smaller room the reverb is shorter and the acoustic sound of the voice is different to how it should sound in a wide open space which the scene shows. to improve this what I have done is edited the sound in 'Premier Pro' and then changed the 'EQ' which makes the voice over sound slightly more natural in that location.

The over dub shots

These shots are for my A2 Film Studies short film. I will take the sound from these clips and edit them over the clips for the last scene in my short film (which has no dialogue) the benefits of doing this mean that the sound is clearer and crisper than how the original sound would have been due to the wind and street noise.

Structure for opening sequence

The opening sequence for my film is the newest addition and I hope that I can finish it in the small amount of time remaining, the best thing about a montage is that it can stretch out through a numerous amount of locations and time periods without confusing the audience. Because of the recent weather, with a dramatic increase in snow, I thought that filming would be near impossible because it would be an error in continuity, but the montage idea for an opening sequence means that i can film in the snow to create the illusion that the narrative within it happened before the film, which is not snowing.
The montage needs to have some aspects which show the audience what i happening clearly, such as:

• Fade in
• Allowing the audience to know the relationship started off happy, shown by the two holding hands and  walking together
• Showing closeness between the two, sat together, laughing, watching TV.
• The separation between them growing, sitting further away from one and other
• The faces of the two not being shown as happy anymore, or at least not the female's
• The two walking further apart from one and other
• The girl walking up to the boy, handing him a note, and walking away leaving the boy.
• The boys face as he reads the letter looking upset.
• Fade out

Music for my opening sequence

I have been inspired by 'raging Bull' 1980 to use the same backing track as the montage in that film, "Silvano: Barcarolle" (1895) as it is beautiful but also gives off an aura of sadness that sets the tone of the film.
The montage will need to be sad but show how happy the couple where and then by using techniques which were inspired by 'Citizen Kane' i will use mise-en-scene and cinematography to show how the couple grows apart and eventually splits up. The only difficult aspect of this will be trying to capture a realistic relationship between the two characters and how they fall apart.
My initial idea was to shoot in the style of home footage to show the closeness of the two characters and in the latter half of the montage show them falling apart, obviously I couldn't try and use the home footage style to show them falling apart because in reality you wouldn't film yourselves arguing or being upset with one and other if you're in a relationship. since then i have developed my idea to film the relationship in a home footage style throughout the entire sequence, I won't by insinuating that any of the footage is actually recorded by the couple themselves but by using the Steadicam technique  and adding a grainy effect in post production I will create the illusion of home footage and by doing that give the impression to the audience that this is their home relationship, it isn't usually for public display, this would be Ironic filming as it breaks away from the usual convention of filming and the filming styles used throughout the rest of the film. 

EXAMPLE OF GRAINY EFFECT AND MUSIC

Update and review on the Coursework

Today, the 10th of January 2013, I have exactly four weeks until all the work I need to do has to be completed, this shouldn't be too much of a problem as the film is almost finished and the only other text needed is a reflective analysis after the film is completed.
For my film to be fully completed I need to finish certain things and make alterations to most scenes, the work that needs to be done from this point are:

• Finishing the over dubbing on the final scene
• Film and edit the opening sequence
• write the reflective ananlysis

Opening sequence

As the film in total does not reach the minimum time for the completed product I have decided to create an opening sequence which will take the form of a montage. The montage will show Mickey and Rose through stages in their relationship, it will initially show them being happy together, this will be created through the use of Two Shots and the couple Holding hands. The next shots will either be a use of symbolism, for example cars travelling or the showing of the Passing of time in some manner, after this the couple will seem slightly more tense and growing apart, as Mickey will later be the one obsessed with Rose he will be the one who seems more involved in the relationship than she is. After this the next few shots will be the death, or dying, or the end of something  which will be used to symbolize the end of their relationship and after these images the couple will next be shown as very distant using shot reverse shot between the two to show how they are no longer together.
The idea for this montage has been inspired by such films as 'Citizen Kane' 1941 and 'Raging Bull' 1980 which both show a fantastic use of montage editing to show the passing of time and the development of relationships.


This montage from 'Citizen Kane' shows the growing separation between a married couple, they initially begin as a happy loving couple who share dreamy glances and romantic language, the use of two shots and zooming in to enclose the two closer together resembles their closeness and allows the audience to see how much they love each other. After this the use of dissolves show passing of time between the next shot of them which then switches to shot reverse shot of them both separately, the noticeable difference between the two characters is the costumes as they both begin, especially the woman wearing very elegant and quite revealing clothing, being romantic but as the montage progresses the audience see how their clothes begin to get more formal and less elegant and more reclusive (the white on the woman's clothing starts of being the entirety of the her outfit, which could symbolize a wedding dress, and then her shoulders are covered in the next sequence and then darker colours start to overpower her outfit, finally leaving her looking very reclusive.) The use of mise-en-scene shows the flowers on the table at the beginning being large and beautiful and then as the montage progresses the bouquet gets smaller and eventually disappear, symbolizing the romance in their relationship vanishing.



This montage from 'Raging Bull' is different from 'Citizen Kane' as it does not include dialogue and takes the form of home footage from the lives of the main characters, it is used to show the passing of time and shows the main events of the characters lives within that time, buying a house, getting married, having children. the home footage it contrasted with black and white stills of the main character's boxing matches which show the difference between what is important to him and what he can barely remember (hence the fluid home footage recordings and the short jumpy still shots of the fights) The use of music in this sequence is possibly the most important aspect of the montage is the 'the flower duet' from the opera "lakmé" by léo delibes which is the backing track to this sequence, which is otherwise muted', which gives a very sad but beautiful tone to the montage as the audience feel as if although all these happy memories are being shown to them and very important times in the character's lives are happening the music indicates how in reality these events and their lives are not as happy as they are trying to portray. The characters also show how they truly feel to one and other, although the main male protagonist seems to the camera to be a happy and bubbly character who plays around and throws his wife in the pool in a humorous way the expressions on his wife's face shows how the playful nature between the two might be a sham and the way he drags her into frame shows how he is trying to create the illusion that the two are a very happy couple.

Health and Safety

Scene	Hazards	Who is at risk	Severity of Injury	Chance of Injury	Risk	Control Measures
First scene (not including montage)	Falling over on concrete.	Talent – Morgan Mills and Jared Mills	Minor	Medium	Low	Filming under lit areas so that the talent can see their surroundings.
	Being pulled to the floor too vigorously.	Talent – Morgan Mills	Medium	High	Medium	Practise beforehand, soft material laid on the floor, out of shot.
Final scene - rooftop	Falling over the edge	Talent – Morgan Mills, Jared Mills, Mark Nolan	High	Low	Medium	Iron railings alongside the edge
	Being hit by a car	Talent – Morgan Mills, Jared Mills, Mark Nolan	Medium – High	Low	Medium	Filming under lit areas so that cars can see those at risk
	Harming each other with prop - Knife	Talent – Morgan Mills, Jared Mills, Mark Nolan	High	Medium	Medium	Practise safety with knife and making sure those handling it are responsible.
	Falling over on concrete.	Talent – Morgan Mills, Jared Mills, Mark Nolan	Low	Medium	Low	Filming under lit areas so that the talent can see their surroundings.

Script for film

	2012
	Wyke College Matt Nolan

[Obsessed]

A2 Film studies script for the coursework film project.

‘Obsessed’

SCENE I

FADE IN:

EXT. EMPTY STREET – NIGHT – LIT BY STREET LIGHTS

ROSE walks down a lonely street as the camera follows her at first from a medium long shot from across the road; there is no one else around. She stops to answer her phone, this is seen from a POV shot from MICKEY (although the audience does not know who’s eyes they are seeing Rose from) and then is seen speaking, although not heard, before hanging up the phone abruptly. The camera switches to a medium shot of Rose from across the road as she hangs up her phone but then quickly switches back to a medium long shot, becoming a two shot as her back is turned and Mickey moves stealthily up behind Rose and startles her. Micky smiles as Rose recognises her and forces a cloth of chloroform, which was hidden behind his back, over her mouth, Mickey then kneels beside her and goes to pick her up

INT. MICKEY’S ROOM – 10.00AM

A long shot revealing a small room shows Rose tied to a chair as Mickey is staring at pictures of Rose on the wall, in the background a clock TICKS.

DISSOLVE TO:

INT. MICKEY’S ROOM – 2.00PM

A close up of a clock shows the time and TICKS which cuts to a long shot revealing Mickey pacing up and down the room while Rose is still tied to the chair

DISSOLVE TO:

INT. MICKEY’S ROOM – 4.00PM

A close up of the clock again shows the time and TICKS which cuts to a long shot of Mickey still pacing the room and looking more miserable, as Rose is still tied up looking more tired.

DISSOLVE TO:

INT. MICKEY’S ROOM – 6.00PM

A close up of the clock is still TICKING in the background and a long shot reveals Mickey slumped on the floor looking very sombre, Rose stares at him with fear and curiosity.

(CONTINUED)

CONTINUED:                                           Page 2

MICKEY

(to Rose)

I can’t let them find you. I need to hide you somewhere.

Close up of Rose as she looks shocked at Mickey and he then gets out his phone and he then dials a number and places the phone against his ear.

INT. RORY’S LIVING ROOM – SAME

Medium shot of RORY as his phone RINGS and he reaches for it and then a close up of his face as he answers.

RORY

Hello?

CROSSCUT RORY/MICKEY HOMES

Close up of Mickey speaking on the phone.

MICKEY

Hello, Rory? I need your help.

Close up of Rory speaking on the phone.

RORY

What’s the matter, are you still upset about Rose?

Close up of Mickey speaking on the phone.

MICKEY

Listen, you know Rose, we’re together. She’s here now.

Medium shot of Mickey speaking on the phone.

RORY

What, she came back? What have you done Mickey?

Medium shot Mickey speaking on the phone.

(CONTINUED)

CONTINUED:                                           page 3

Close up of Mickey as he starts to get upset and looks worried.

Mickey

Well I need to hide her, at your house. The police,

they’ll be after her.

Close up of Rory as he looks confused and angry as if he cannot believe what he is hearing.

RORY

What? That’s crazy Mickey! I can’t have her here. Is she hurt?

Long shot of Mickey on the phone starting to get angry, Rose is seen in the same position as before but looking scared as Mickey speaks on the phone.

MICKEY

Of course she’s not I wouldn’t

hurt her. I just don’t want her running away from me.

Close up of Rory looking a little more relieved.

RORY

Well thank god for that, Mickey you two broke up!

You can’t just kidnap her.

Close up of Mickey as he speaks on the phone

MICKEY

I need to hide her at your house, they always

Search the ex-boyfriends house, I can’t keep her here.

(CONTINUED)

CONTINUED:                                           Page 4

Close up of Rory as he looks miserable about being dragged into the situation.

RORY

Fine, I’ll have her at my house. That Way I know she’s safe.

Close up of Rose as Mickey talks on the phone, she is very upset as she only hear Mickey planning with his friend.

MICKEY

Right, you’re going to help me? Meet

Me at the abandoned car park at

9.00 tonight.

INT. RORY’S LIVING ROOM – SAME

Rory is sat on his couch looking pensive and sombre. A close up shows him hang up his phone and then cuts to a medium shot as he walks to his couch to sit down and puts his head in his hands.

RORY

(to himself) This has gone too far. I wonder if I

can talk Mickey out of this, It’s not Rose’s fault,

she just didn’t love him anymore.

Mickey’s changed.

Page 5

SCENE II

EXT. ABANDONED CAR PARK – NIGHT

Rory walks through the abandoned car park until he eventually reaches Mickey, who is stood, and Rose, who is tied to a chair beside him. A long shot shows Rory walking alone in the abandoned area which cuts to another long shot of Rory walking up to Mickey and Rose.

Cut to a close up of Mickey as he smiles upon seeing Rory.

MICKEY

Hurry Rory, I need you to help me carry

her to your car.

Close up of Rory as he stares in disbelief at Rose and looks shocked

RORY

I can’t believe you have done this Mickey.

Look at her all tied up (indicates to Rose)

she’s a nice girl Mickey.

Close up of Mickey as his smile turns to a frown and he starts getting angry.

MICKEY

Are you going to help me or not?

I can’t have her at my house.

Close up of Rory as his face turns to sympathy for Rose.

RORY

Then let her go Mickey, she

doesn’t deserve this.

(CONTINUED)

CONTINUED:                                           page 6

Close up of Mickey as he stares at Rory and gets angry

MICKEY

If you won’t help me I’ll have to kill her. She’ll tell the police I’ll be sent to jail.

Close up of Rory who is shocked and desperate to stop Mickey

RORY

No Mickey! That’s not the way, please, I won’t let you do this.

Long shot of Mickey as he reveals a flip knife that he had hidden in his pocket and flips this knife up threateningly.

MICKEY

Then you’ll have to stop me.

The long shot cuts to another long two shot of mickey and Rory as Mickey runs towards Rory and starts threateningly lunging towards him with the knife. Rory dodges the knife and punches Mickey, showing a close up of him being knocked onto the ground which makes him release the knife which CLANGS on the floor. Rory runs to pick up the knife and quickly frees Rose of her bonds.

Medium two shot of Mickey as he runs to Rose.

RORY

(To Rose) Rose you’re free. Run home, fast.

Rose runs off past Mickey and off screen, and then a medium shot of Mickey rises to his feet and then a long two shot as he dashes towards Rory with a mad expression and tried to hit him. Rory blocks Mickey’s punches and holds out the knife in defence, stabbing Mickey as he blindly attacks Rory, this is shown with a close up of Mickey’s face as he gets stabbed and his angry face turns to a surprised look. Mickey falls to his knees slowly with a sad expression and then finally to his back where his blood spills out onto the pavement. A medium close up shows Rory throwing the knife away and then a cut to another medium close up as he kneels beside Mickey as he dies and looks down upon him with a sad expression.