Influential Practitioners

Quentin Tarantino has a catalogue of celebrated films that he has directed, produced, written and acted in, behind him. Tarantino has over the years created some instantly recognisable trademarks in his filmmaking, and has inspired others to take interest in his style of writing and directing. He has worked through many different genres including Arts house crime in Pulp Fiction and Reservoir Dogs; war genre in Inglourious Basterds; action horror grindhouse with Death Proof; and action thriller with Kill Bill.

Kill Bill was one of the main influences for my teaser trailer and storyline idea. In Kill Bill there is a mixture of homages to different genres including: Hong Kong Martial Arts, Japanese chanbara , Italian spaghetti western, girls with guns, rape and revenge. In my film, I took some of these genres and hoped to make the trailer portray this. I used the idea of revenge, and the idea of ‘girls with guns’ i.e. making my character a strong female, who would go on her rampage of revenge and find her ex-husband and kill him in order to get back her ‘possession’. The audience are never clear in the trailer or in any of the forms of advertisement what the possession that she is searching for is. Nor are they aware what it is throughout the film until the final scenes in the storyline.

Another Practitioner I used for inspiration in my trailer was the Theatre practitioner and playwright Bertolt Brecht. I found his words inspirational to use in the trailer and the quote I used and coloured the text in red “Behind the pretty words lies a bloody reality” was very fitting to the film. I wanted to give an incentive for my audience to think about the subject of the film. I also wanted to create a contrast between the two Arts of Theatre and Film.  

These two practitioners have something in common between their works: Both of their uses of realism. Or lack of it. Tarantino creates ‘What if’ storylines to his films, where it is partly fantasy. Some parts of reality are left out in order to create a good story. For example in Kill Bill, the law enforcements are not mentioned or even thought about as the bride travels around the world killing those involved to avenge the ‘death’ of her child. In Brechtian theatre, it was not the storylines that weren’t realistic as such, but the methods of acting were never made to look like real life, Brecht believed that an audience should always be aware that they are watching a show or piece of theatre, and that the people onstage were, indeed, just actors.

Premiere Magazine: James Bond Analysis

This issue of Premiere magazine focuses on the new Bond actor, Daniel Craig, in the time before his first film in the role came out. The main image is of actor Daniel Craig, looking suave in a tailored black suit with a bow tie. He is looking out to the audience, however is not actually looking straight at the camera in the image, more past it, so it looks to the readers like he is staring past them. The main feature of this image is the shadow cast my Craig on the white background – which has been edited to show the character of James Bond with a gun in his hand. The use of the orange coloured text brings out the key words in the description, so that they audience can make out the subject – they can take the information that Daniel Craig is the new James Bond and that the next film will be Casino Royale. The yellow text is the less important information. However, this theme is the switched for the captions for the other articles, with the yellow text telling the readers the names of the people in the articles, and the orange text being the information of these articles. The other less important details and information is presented in a black and grey theme.

Empire Magazine: Harry Potter Analysis

This is the cover for an edition of Empire magazine. Its main focus and top story is the latest Harry Potter film. The background colour of the magazine is blue – which is used greatly in the colour palette for the Harry Potter films – as they always have a cold blue feeling about them. The main image on the cover is of ‘Harry Potter’ who is wearing a smart suit, however has cuts and scars on his face, showing action and battles. He is holding the well-known wand, which is pointing out toward the reader. The character is also looking straight off the front cover, out to the audience, which captures your attention. The wand looks like it is breaking through glass to almost get out of the magazine, and shards of glass are shattering across the page. Reflected in some of these shards of glass are the faces of other well-known characters from the films. Each of their faces are circling around the main image and Harry Potter to make him the main focus, and they are also much smaller images. Each of the other characters also look cut and hurt, showing their fights, and how they are also part of the action. The yellow text against the blue background makes it stand out to the reader and it jumps out at the audience. The white text also grabs your attention and most of the information is in the white coloured text. The grey text is the information that isn’t hugely necessary but gives more info. The yellow text in the grey text is the key words or highlighted factors. The title ‘Empire’ being red stands out as no other text or images on the page are red. The red colouring of ‘Empire’ is also recognisable for an audience as it is a logo and is usually always red. With the actual title of the main film (Deathly Hallows part 1) being smaller than most of the other text, it shows that majority of the audience and readers will also know what the title of the film is just from the image and the large caption of ‘Potter 7’.

Film Classifications and the BBFC

Film classifications are decided and rated by the BBFC (The British Board of Film Classifications). The BBFC are an independent, non-governmental body that has been classifying cinema films since 1912. When the Video Recordings Act was passed in 1984, the BBFC began to classify videos and DVDs. The BBFC classifies films under the categories as follows:

‘U’ or Universal is described as suitable for all. Categorically, a U is aimed at any audience of 4 years and over. A Universal rated film may contain mildly scary scenes, mild threats or menace, mild sexual behaviour (i.e. kissing), and very sensitively dealt with themes.
Examples of films with a ‘U’ rating would be: The ‘Shrek’ Series, Monsters Inc, Casablanca and Mary Poppins.

‘PG’ or Parental Guidance is for general viewing, but some scenes may be unsuitable for young children. A ‘PG’ film should not upset or cause disturbance to a child aged eight or older. Parents should make the conscious decision as to whether younger or more sensitive children are able to view certain films. In a ‘PG’ film Drug references or Discrimination must be clearly disapproved of or not referred to at all. Sex, Violence and bad language must be very mild and must not be detailed. Themes of a more serious nature should show that such behaviour or actions are not condoned or acceptable.












‘12A’/’12’ are films that are suitable for ages 12 and over. The same criteria are used to rate these films – the only difference being that the ‘12A’ category only exists for cinema films. Anyone younger than 12 years of age cannot view a ‘12A’ film unless accompanied by a responsible adult. ‘12’ and ‘12A’ rated films should not glamorise the misuse of drugs and infrequent moderate physical and psychological threat may be used, as well as dangerous behaviour should not be dwelled on in detail which could be imitated. Moderate language is allowed, however stronger language must remain infrequent. The treatment of themes, sex and violence must be content which is suitable for young teenagers to view.
Certificate ‘12’ films are: The Bourne Ultimatum, The King’s speech, Sherlock Holmes and The Holiday.

‘15’ rated films restrict anyone under the age of 15 viewing one of these rated films in the cinema or purchasing these video works. Discrimination regards that the work as a whole should not endorse discriminatory language or behaviour. Drug taking may be shown but drug misuse must not be glamorised or sanctioned as a whole. Also the use of easily accessible and highly dangerous substances, are unlikely to be authorised under this rating. Strong threats are permitted in 15 rated films; however they cannot be sadistic or sexualised. Dangerous behaviour must not be shown in great detail which could be copied. Strong Language of frequent use is permitted, however, the strongest less-used terms must be infrequent and justified by the context. Sexual activity and nudity may be shown without strong detail. No themes are prohibited, as long as they are suitable for the age restraint.
‘15’ rated films are: The Shawshank Redemption, Gran Torino, Slumdog Millionaire and Hot Fuzz.

‘18’ certificated films are not to be viewed in the cinema or purchased by anyone under the age of 18. Very little is limited at certificate ‘18’ apart from pornographic material, which is warned against with another certificate.
‘18’ films are: Pulp Fiction, Goodfellas, In Bruges, Fight Club and Kill Bill.

Total Film Magazine: Inception Analysis.

This is a magazine cover for Total Film. The theme of this edition is based around the film Inception. This magazine is dated Summer 2010, when Inception was first released. This theme is used in the colour scheme and certain texts. Titled: “The mind-blowing issue”; this has relevance and is referring to Inception, which is a film that is set “In a world where technology exists to enter the human mind through dream invasion”. This film was also said to be one that got people thinking. Therefore the magazine has picked up on the mind element of this film and toyed with that idea in its themes. This is also portrayed in the tagline for Inception “Inside the ultimate head trip”. The colour scheme for the film Inception is seen to be blue, and this colour scheme is used on the front of the magazine with the image and the design of the ‘Total Film’ logo. The logo is made to look like an electronic device or the inside of a computer – which relates to the technology element of the film. The red text theme is used to highlight or make certain parts of the text bold and more noticeable. In order to capture the audience’s attention, certain text is in red and is then followed up with the information in white. The use of bold white text also makes some titles more noticeable, followed by normal white text to create a softened effect. There are also metallic silver texts which link to Inception and electronic/modern/technology. The magazine also has the conventional features, like the barcode, price, date of the issue and the website of the magazine. The cover also draws an audience in with the use of a star. In this case; Leonardo Di Caprio is the star, who can not only be regarded as a star but also perhaps as ‘eye candy’. The character appears to be holding a gun, and is wearing a black suit, with insinuates the use of the action genre in this particular film; perhaps making certain audience’s/readers want to know more information and read the article and the magazine.

Chicago Poster Analysis

Chicago, The film adaptation of the Broadway stage show Chicago the Musical was released in 2002. This poster uses made different devices to draw an audience in. The first device would be the use of stars. The poster has prominently featured the lead cast; Catherine Zeta-Jones, Renee Zellweger and Richard Gere. They are all looking toward the camera that took the photograph of them, making it look like they are looking out of the poster to the audience. Making a personal connection. The poster is predominantly black, to make the red ‘Chicago’s stand out. The black colouring has connotations to be “mysterious, sexy and sophisticated.” Black can also be the colour of mourning and rebellion. It also portrays murder and elements of good and evil. The two girls are also portraying the contrast of good and evil in black and white dresses. Both colours can represent good and evil in different instances. Each character has an element of red in their costumes, the girls with red lipstick and nails, and Billy Flynn with a red handkerchief. The red lipstick and nails are a trait found in the stage version of Chicago which have been transferred to film. The red gives connotation of being sexy, evil, blood (which is highly prominent in this film) beauty, courage and death. At the feet of the characters is the skyline and view of the buildings in Chicago, Illinois. The portrays the characters being larger than life and overruling the city. The two girls are holding guns behind their backs, showing a mischievous and sly side to both of them, as well as giving away character traits and elements included in the film. The tagline – written in red under the characters feet – is “If you can’t be famous, be infamous.” Which makes the audience think that the characters wish for fame, but become infamous in the process, or are obsessed with the notion of fame. The title; ‘Chicago’ is written in black outlined red, apart from the 2^nd C, which is lit up bright red, and then enlarged behind the characters in like a red neon stage lighting. This is a prominent and memorable logo for the film.  

Casino Royale Poster Analysis

Casino Royale came out in 2006; and was an instant hit as the new James Bond series comeback. The background to this poster is a metallic like grey colour; that gives off the impression of seriousness and formality. This is then backed up with the evidence of Daniel Craig who portrays James Bond in a smart black suit, but with the bow tie undone – showing a sense of slight informality. He is also holding a gun, which shows the use of violence and weaponry in this film, which will interest a lot of the male gender audience as this is usually a point of interest in a film for this audience. There are then three separate images portrayed on the right hand side. The first, Is of a chase between two boats and a helicopter, if studied closely, one may be able to recognise the canals of Venice and surrounding buildings in this image. This Image gives an impression of action being featured in the film, and gives an idea as to what type of action. The second image is of the two leading cast members, Daniel Craig and Eva Green, also in the water, emphasising its presence featured in this film. This also shows the element of romance being featured in the film and again, opens doors for a wider audience to enjoy the film. The third and final image is much larger and shows an Aston Martin car driving past a large exploding building, showing more action scenes and the use of fast cars to excite an audience. These images are presented in a certain manner that looks like a gun barrel, a trait of the James Bond franchise, which defines it and makes it recognisable. The title is in a white text, centred and near the bottom of the poster. The text has a slight shadow to it, which is swept to the left to give the impression of movement and speed. The title is placed in such a way that the two ‘O’s are one above the other, with the ‘7’ placed strategically underneath to create the OO7 trademark for the James Bond films. The ‘7’ also features the well-known logo of the gun.

Kill Bill Poster Analysis

This poster is for Kill Bill – a film that I have taken a lot of inspiration from to create my teaser trailer. The poster is comprised of a bright yellow background with the contrasting black text and embellishments to stand out. There are all sorts of connotations and metaphors that can be made to the yellow colour. For example, caution, intelligence and warning. Yellow is the colour of lemons, and this connotation can even be used as lemons are bitter; reflecting the mood of main protagonist, Beatrix Kiddo. The sub text ‘A roaring rampage of revenge’ is very dramatic, and the text colour is red, which has connotations with anger, evil, aggression, blood and death. All factors which are featured in this film – it gives a lot away about what might relate to this film. In red is also ‘Volume 1’ which draws attention to this text and implies that this is the first of a series or the first instalment to this particular story. ‘The Bride’ is wearing a yellow jumpsuit with black trim, again, another use of the yellow and black colour theme to make her costume match the poster (or the poster matches her costume). The jumpsuit is designed like leathers for a motorbike – giving the character a rebellious and fearless look of nature to her. This is then hit home by the expression of boldness and strength on her face. She looks determined and powerful. She is also holding a samurai sword; which gives away an element of the plot and is a device to give the audience a little more information about the film. The character looks very practically dressed and like she has a motive and a drive. This audience can get a lot of information from this simple poster. With the title ‘Kill Bill’ layered on top of the characters image, it leaves the audience to interpret that perhaps the character is set out to kill ‘Bill’. Having the picture of the star on the poster, Uma Thurman, on the poster may also draw in a wider audience, and with the text ‘The fourth film by Quentin Tarantino’ in a noticeable black colour with the white contrast – this grabs an audience’s attention and remind them that Tarantino will probably use his trademark cast choices.

The poster is simple yet effective, due to the bright colours, bold titles, and the very symmetrical theme to the poster, for example, the streamlined titles and information text, and the single stripe across the middle and Uma Thurman standing directly in the middle of the poster.

Production Diary

28^th June 2011 –

During this week I am having correspondence with my actress Rosie Hakes and am sorting out costuming, make-up, props and timings for the filming. I had to consider the availability and the concerns of my actress, so this took some planning and giving her some guidance. We have decided on the costume today – She is wearing ripped biker jeans, a white vest top, a black leather jacket and orange and grey high heels. We will probably make the final decision on the make-up before the filming begins.

29^th June 2011 –

Today I talked more to Rosie and decided that the props we should use would be a brown leather bag that was big enough that it looked like it could hold the bare essentials for the character and a pair of Aviator sunglasses. We decided to keep it minimal as we did not think that the character in such a desperate time of need and seeking such revenge would care for accessories and anything but essentials. I also travelled to the location of the bus station and took photographs with a digital camera of the shots/locations of shots I would use, like real life storyboarding.

3^rd July 2011 –

On this day I prepared and charged the camera and put together the finishing touches to preparing for the filming shoot. I also thought more about certain shots in places and the use of extras. I decided not to employ any actual extras and use real people in a Ken Loach type manner, hoping that they would all act natural and continue with their own tasks and ignore us. I thought that this would make it look more realistic and there would probably be a wide range of different people present, for example school children, to girls having been shopping, people go out for dinner, people travelling home from work, and normal townspeople.

4^th July 2011 –

 Rosie was scheduled to arrive at 7:30 this evening. At this time the outside daylight would be sunset and would suit the timing for the film quite well as it would look like she had been travelling during the day and showed a passing of time, as it is the end of a day, showing that she must have endured an entire day before the time of the storyline. Whereas had it been set in the morning, it would have showed a new day, a beginning, not necessarily showing a previous occurrence.

Rosie arrived and we made our travels to Wycombe Bus Station with the video camera and digital camera for more screenshots. When we began filming at the bus station it was fairly busy, which was good for shots of extras, but as time passed and we did more shots, it emptied out a bit and became quieter. This was in fact a good factor as it gave even more insinuation of time passing. We shot about 8 minutes of footage, with made long shots, medium shots, close ups, ECU’s, low angle shots and panning.

We made different changes to the costuming in different shots, for example we took away the leather jacket for some scenes and Rosie carried it, the sunglasses were mainly on her head, but there are some scenes where she wears them, and also she sometimes puts her bag down on chairs.

The extras (members of the public) that were present were all very good about the filming and some barely noticed our presence. Luckily with the camera being quite small and unnoticeable, many had no idea and literally carried on with their own lives. A few people, did, however notice. This means a few shots will have to be scrapped and unused due to people looking at the camera, noticing, and even some children playing up and making noise in the background. Although, this final point can be ignored due to the lack of use of the real sound in the editing, as I have decided that the soundtrack will be played over the top of the visuals with possible voiceover’s, therefore there is barely any need for the actual sound.

With an extra prop, we decided to adlib with a children’s toy vendor, which I decided that the character should disinterestedly look at. I later decided that maybe after some disinterested use of the vendor that the character should buy a toy out of boredom and just out of instinct, as the audience work out that her thoughts are evidently elsewhere. Rosie performed this idea very well, and as I directed that she should fiddle with the toy she won, she should look very vague and distant. She then suggested that she improvise some more and see how the shot goes. This turned out to be much better as it looked more natural and Rosie went completely with the real events, and purchased a toy from the vendor and quietly sat with this toy, making it another prop.

7^th July 2011 -
Today the editing of the film began officially as I transferred the footage to the computer and began to open it up and work with Adobe Premiere. Looking at the footage I captured, I knew I would have more than enough material to cover the time with a selection of suitable and usable shots that were all acceptable. I was comfortable that I would not have to re shoot anything or create anything new. Therefore the editing could go ahead and I would be well on my way to completing the film. I also began to brainstorm how I would create the titles and make them look, to suit the colour palette and the style of the film.

25^th July 2011 -
I decided today that I should begin cutting parts of the film, and doing the first basic bits of editing, which involved getting rid of outtakes, shots that were unnecessary, and unwanted footage. This shortened a lot of the film that I had captured, making it easier to edit it further, and I was left with the decent, usable shots. I also sourced a microphone to create a voice-over and made sure it worked with the program I was using.

2^nd August 2011 -
The finalised editing has begun, and I’ve decided to create the final cut. I’ve edited down more of the footage to approximately one minute long for the teaser trailer. I also re-ordered the shots, as I filmed them out of order to make filming more convenient, rather than working in the sequence. I worked to editing the film and placing the shots to fit with the soundtrack. I also decided to design the titles for the film and made sure they fit in with the themes and the look of the trailer footage. I also edited the previous script I had created for the titles and made them stand out and be short and snappy in the trailer.

16^th August 2011 -
The editing was completed today, and everything was finally tweaked to finish the post production editing.  I recorded the voice over also, and fitted that into the appropriate spaces of the teaser trailer. I then decided to look back at the criteria and see if my trailer would correspond with it. I also decided to begin looking to creating my posters now, and moving on with the tasks, as the film was completed.

22nd September 2011 -
Production of the film poster and magazine began a few days after the editing on the teaser trailer was completed, and both the poster and magazine cover were competed today after lots of time was spent editing them and making changes as they progressed. I decided to keep the date of August 2011 for the film release and put it in the past tense for when it was scheduled to be finished. This is also shown in the magazine and poster.

Time Management

7^th June 2011 – Research and Planning for Trailer

17^th June 2011 – Finishing Research and Planning and beginning of creation of the film.

24^th June 2011 – Finish filming, Editing begins.

8^th June – Begin Evaluations.

This schedule was later altered for reasons due to delays, availability of actors and preparation.

7^th June 2011 – Research and Planning for Trailer

17^th June 2011 – Looking into the main task, and other tasks besides filming.

4^th July 2011 – Filming with actress Rosie Hakes at the bus station.

5^th July 2011 – Begin Editing and carrying out main tasks.

Script Drafts and Final Script

Script draft

Mindy: (voice over) Have you ever looked for something and not been able to find it?

(Titles) This Summer.

Mindy: (voice over) Did you ever expect it to be halfway across the world?

(Titles) A search will take place.

Mindy: (voice over) No, Neither did I.

(Titles) A search for a life.

Mindy: (voice over) I’m gonna find you. And when I do...

(Titles) A search for a possession.

Mindy: (voice over) You’re dead.

(Titles) August 2011

(Shots of Mindy on her search with faster paced music)

(Titles) Don’t miss

(More shots of Mindy and the bus station location)

(Titles) Departures.

 Script Draft

Sofie and Mindy are sat in the cafe, opposite each other. Each of them have a plain white mug, and are calmly drinking them. However there is an atmosphere created, both are internally uncomfortable, and the actresses must use the technique of Tempo Rhythm to achieve this.

Sofie: Where have you been? Where’re you gonna go?

(Titles) This year, This summer

Mindy: I’ve been around. I’m gonna go wherever I learn he is. Nowhere else.

(Title) One woman searches for her victory.

Mindy: (voice over) I have to find him. He’s out there somewhere, he can’t hide forever.

(Title) A journey of revenge must commence

Mindy: (voice over) (Both answering herself and the titles) And victory must be mine.

(Title) This August

(Shots of Mindy with Sofie Kavanagh and on her own)

(Title) There’s going to be

(Title) Departures

Final Script

Mindy: (voice over) I’ve been looking for you for a hell of a long time.

(Titles) In August 2011

Mindy: (voice over) My contacts and your clues will bring me closer.

(Titles) A new dawn begins.

Mindy: (voice over) Closer to my possession. Closer to the end of your life.

(Titles) Rosie Hakes

Mindy: (voice over) I won’t let you get away from me. Not now.

(Titles) Directed by Sophie Kemp

Mindy: (voice over) Not ever.

(Titles) “Behind the pretty words, lies a bloody reality.”

Mindy: (voice over) You can run. But you can’t hide.

(Titles) Departures.

(Titles) Coming soon.

Outline of a synopsis for complete film

The storyline for the complete film is that In Wyoming, USA; Mindy Belle would wake up in a large high ceilinged posh hallway in (her) house. She would be injured and there would be possessions spread all along the floor of the room, and a lot of it would be messed up and wrecked. She would find out that her husband has left her with his mistress, and has taken a very important possession of hers. The audience would not know the identity of the possession until the end of the film. Mindy then leaves the house, ready for revenge, and walks away from her home life in America, on a quest to find her husband. She would come to England, and have to travel around the country thinking that he would be here from the clues and from the people she meets along her journey. Many different meetings and bad events would occur along the journey to Mindy (i.e. she would be mugged, beaten up, captured, had items stolen, and had to pursue other quests in order to be able to travel on her journey) but at the end of the film, she would eventually find her husband, his mistress and her possession (her 2 year old daughter) in the south of France.

Soundtrack

The score for the trailer was comprised of music created by myself and friend, Joe Ashford. We created a piano song (with no copyright limitations) and added drumbeat effects to it to make it more effective. The music has a moody feel to it and the minor keys of the piano make it also have elements of sorrow, depicting one of the films main themes in Mindy Belle’s hurt. The trailer will have a lot more emotion in it with the music, and due to the lacking of dialogue, alot of the music will speak for the character and interpret the emotion from the facial expressions portrayed.

We created two tracks with the same basic theme/main melody but decided that one was significantly stronger than the other, and we completed and edited this one. The other track was also completed bt not edited. However, it could be reviewed and later could be used if the film was made longer and could be antoehr track that draws influences from the original theme.
The writing, recording and editing for the track took a couple of weeks and required the influence and help from myself, Joe and his brother Matt. The track is primarily piano based, but also uses drums and synthesisers.

Character Development

I developed Mindy Belle from different sources of research and she has different elements of characters from previous films. She has a strong element of ‘The Bride’ (Beatrix Kiddo) from Kill Bill in her, but also traits of characters like Thelma from Thelma and Louise in how she let her husband walk all over her and is now breaking free, She is also supposed to have lots of influences from typically cast Angelina Jolie characters. My character needed to have a sinister streak within her and a vengeful emotion in her as she deals with her revenge for her husband’s deceit. To develop her name, I needed a name with a deeper meaning to it.

Medea – a Greek name, means: either "to ponder" or "cunning". In Greek mythology Medea was a sorceress from Colchis (modern Georgia) who helped Jason gain the Golden Fleece. They were married, but eventually Jason left her for another woman. For revenge Medea slew Jason's new lover and also had her own children by Jason killed.

Mara - Means "bitter" in Hebrew. This was a name taken by Naomi in the Old Testament (see Ruth 1:20).

Lola – “Strong woman” Spanish.

Lulie – “Warrior Maidens”

Belle – “Beautiful Snake” (this has great meaning in that her beauty deceives you of the sly creature within.)

Mindy – This name has no specific meaning. But I wanted to use this name as it related to Medea and Mara, and I am using Belle as her second name to keep the beautiful snake element.

Another character idea I had was for the character that Mindy Belle meets in the coffee shop. This character needed to specialise in some kind of vengeful activity or have specific knowledge of weaponry. So I decided for Sofie Kavanagh to be a ‘friend’ or ‘companion’ in this scene for Mindy and these traits link directly to her surname meaning. This character would have the knowledge that could help Mindy find her husband.

Organisation of Costumes and Props

For the main protagonists costuming, I want to have quite plain clothing to show her trying to blend in with the crowd and look inconspicuous, to not draw attention to her or her actions as she tries to get away with her revenge successfully without being noticed specifically by the public and normal people. I want her attire to not be branded at all, quite plain with certain embellishments and not necessarily a fashion statement. I need her clothes to look clean, plain and quite feminine, while also practical in some respects.
A prop that may be used is a realistic (but fake) gun. I plan to perhaps borrow this from a friend, I feel this would make my character look far more believable and serious and would also provide a relistic prop that would make the trailer look more professional.
I decided to use props that would hold significance and perhaps have a metaphorical meaning to them. For example, I wanted my main protagonist to drop a mug in the cafe, so I decided to get a plain white mug as this was not the focus for the audience. As we see the mug fall to the ground and smash, I wanted for this prop to represent my characters emotional state, and her cracking up as she seeks her revenge. Of course, along with the cafe scene, this idea was scrapped, however, another prop that showed the same significance was used, in the form of the toy from the vending machine. (See Below)

I would base the characters costuming (and like much of the film) on The Bride from Kill Bill.

The final decisions for the costuming and props (which can be found in the production diary also) were made during the week of the 28th June 2011. It was decided that the costuming for the character would be blue ripped biker jeans, a white ribbed vest top, a black leather jacket, and grey and orange high heels.

This costuming was kept plain, quite American and unbranded, so that there was no particular significance to the clothing to the audience, other than it was basic and recognisably quite American.
The props were a brown leather bag that was large enough for the character to keep the bare essentials in and nothing particular else, showing her state of mind and desperation, and no such need for such commodities and objects of luxury. She merely needed herself and essential materials. I felt that the character needed a bag to show her travelling though, and her having soem things with her, to show her displacement and no base. Also, without a bag, the film could not develop to show her collect items along her journeys or have many props. Another prop was Aviator sunglasses, these are also quite central American and show her determination and strong figure with a pair of signature sunglasses.

Organisation of Actors

I have had correspondence with a possible actress for the film. The original actress for Sofie Kavanagh was dropped, and that scene may be cut, if not, I will take on the supporting role of Sofie.

The possible actress to play Mindy Belle is a friend of mine, Rosie Hakes. Rosie has previously had experience in doing promotional videos and adverts for O2 and is perfect for the role of Mindy. She is almost six foot which makes her a great height for low angle shots showing her superiority, and she is blonde and is feisty. She has a lot of features of a prospective Mindy Belle. She is also providing her own wardrobe, but to my design and preferences.
(Click Images to enlarge)

Organisation of Locations

I chose such locations as a bus station for the trailer. The bus station was the location for a main scene in the plot of the film, where our protagonist arrives at her destination to meet a particular person in this location to progress with her revenge plans and therefore the plot of the film. This is the point in which the equilibrium becomes more of the journey now. I looked at different options for the use of a bus station/stop, but I ultimately decided in the end that a bus stop did not have the desired effect and was look quiet and a small location. I wanted to create a large empty space of the bus station to make the character look isolated and lonely in a large world, but ever-determined. The bus station I chose was the one in High Wycombe. Here there are many different buses going to and from different locations, so the boards and the screens would give lots of locations, making it look mainstream and like a large important location. I wanted it to almost have an airport feel to it. I have decided to film at a time in the early hours of the evening, to use the sunset coming through the windows at the station to create an effect of passed time and a long journey and using connotations of orange with danger, hate and like a burning evil as orange can be a lesser version of red. Also, at this time in the evening, there would be lots of different activity at the bus station – creating the large space that could be made to be more confined. This shows the character getting lost within the crowds, and being isolated in a world which doesn't care, it also shows her struggling through the crowds of people and with all of the obstacles in her way.

I’ve also had the idea to use a location of a quiet cafe in the early morning. I want this cafe to look like a diner or greasy spoon and to make it look quite generic and plain, rather than using a big well known chain cafe/coffee shop setting. I also want this location to be quite quiet to create the effect of a private meeting being held in a particular place at a particular time to make it more exclusive and show the importance of no one else hearing the conversation. I also decided to film later in the morning when dawn was breaking to show the effects of time moving and different times and the time it took to move to the location. This idea was later scrapped.

I may also have filmed a few travelling shots to show that this cafe is out of the way and even more private as it is not very direct to a bus stop/station and that it is quite a long walk to arrive there, but our protagonist is determined and nothing gets in her way.

Sex and the City 2, teaser trailer, 0:32

The trailer begins with some logos for media institutions that are involved in the productions, distribution and exhibition of the movie, these are brought in with a flying in sound. They are lined up in the middle of the screen for a more presentable effect, and are coloured in the scheme of silver and white which is being used for the movie, to establish it and make it recognisable. The silver logos and text glitter and sparkle like diamonds, creating a feminine and wealthy image, giving away themes and elements of the film, which is set in New York and is about four wealthy, fashion conscious women. (This is previously established to an audience, who have seen the television show before the movies. If not other audiences will know the genre of the movie and TV show, and will have some awareness of its earlier existence). The target audience for this movie are very aware of what the movie will contain and what they are expecting from the movie and trailer.

The music begins with a strong baseline drumbeat, which takes appropriate pauses to create effect from the lines that the characters speak. There is then the first shot of the trailer, showing a male character, dressed in a black suit, looking into the mirror, the camera lets the audience see the actors face in the mirror rather than just the back of his head, therefore the camera shot is at an angle so we can see him in the mirror and his real body, without the camera or crew being seen in the mirror. The shot shows the man straightening his bow tie and establishes the character, as many of the original audience will know, this character is Mr. Big, the main protagonist, Carrie Bradshaw’s husband. A pause in the music comes when Big states: “Wow” when he sees Carrie.  The next shot then shows, the main protagonist, Carrie, on the other side of the room, wearing the same suit. This incorporates the comedic element of the themes of this film. The shot then changes to another angled shot of Mr. Big looking in the mirror, but from the other side and Carrie’s perspective. He looks in the mirror to the camera, making it more obvious that the camera is acting as Carrie’s POV, rather than Mr. Big talking to the camera he is talking to ‘her’.

A title then appears on the screen, with the silver and white theme, with a white background and a silver text coming in from the camera and getting smaller as it is stamped on. It tells you the date that the film is coming out, giving the audience the first bit of vital information, on its own so they have a chance to take it in. It then shows another scene from the movie with the four main characters being shown sitting at a table talking together, all wearing bright and colourful clothes, drawing attention to their fashion consciousness. It is also to draw attention to them in the frame, and all of the known characters are dressed in bright colours to get them noticed, whereas any extras or unknown persons are in greys, whites and blacks. Even the kids of the characters are dressed brightly to show their significance.

The change of scene is literally ‘flown in’ by an aeroplane with a whooshing sound and the aeroplane wipes one scene from the screen and brings in another, a high angle shot of four white cars driving up to a large building. As the camera pans up to the building, a camera flash effect is added, to make it look more glamorous and of importance, or the flash could be taken to be like a sparkle from a diamond, again inferring wealth and the finer things. The next shot is of the four girls, and the music takes a pause for Carrie’s line as they enter. The girls are again dressed brightly and fashionably, always drawing attention to their clothing, as they walk into the building. There is then another title with the silver and white theme saying ‘More fun’. This is then illustrated in the next shot of about a dozen men in a swimming pool, each showing their muscles and cheering. The shot after this shows Miranda imitating them and doing a call and response of this action. There is then a shot of Carrie laughing at this.

The next title states ‘More sex’ with a crash of cymbals and the shot following this is of a tanned and muscled man taking off a pair of sunglasses and looking down on Kim Catrall’s character, Samantha, who is gazing up at him longingly. This amuses the already current audience as they know this character for her sexuality mostly, and she can be seen as a comic character. The next shot is a low angle of Carrie and Samantha on a camel together, having a short conversation which the music stops for also.

The next title states: ‘More surprises’. The scene shown here is of Carrie and Miranda in a small market, showing its exclusivity and it’s quietness, with just a few Arab men in the background. The next shot is a long shot of the girls riding on camels, and the one after that is of lots of belly dancers in a club in bright coloured costumes. The lighting is coloured and misty to make them brighter in the dark room. There is then a quick shot of Carrie walking on the beach and then another shot of All four girls walking together in the desert. The next shot then refers back to the quiet market, and the two girls Carrie and Miranda turning in shock, and a quick blackout with a lack of music, at which point we get a close up shot of Aiden’s face, which is an element made for the current audience who already know who he is and know the storyline to know that this is a big surprise. There are also heartbeat sounds to accompany this moment. The next shot is of Charlotte screaming ‘Oh my god’ excitedly, acting as the audience’s voice and empathising with their emotion from this revelation.

The next title shows the actual title of the movie, which is in the silver and white theme and had a big sparkly ‘2’ in the middle of the screen with a diamond like effect in it. The main title is then dropped in on top of the ‘2’ in gold saying ‘sex and the city’ and the titles rotate on the screen. There is then a shot of Charlotte’s daughter and her, showing the time alterations between this movie and the last one. This is a helpful device by showing the child aging, therefore giving the audience an idea of how much time has passed in the fictional world. For this scene the pace of the music fades out, and the conversation between the child and Carrie takes prominence.

There is finally one more low angle shot of the girls on camels and then the final title of ‘may 27^th’ and all of the logos and information like the website and Warner bros. Studios logos on it. 

Love Actually, teaser trailer, 0:32.

The beginning of this teaser trailer starts with a quick shot of Hugh Grant playing the prime minister and saying a couple of words before the music (‘All I want for Christmas’ By Mariah Carey) begins and the trailer flashes to two institutional references; the first being the logo of the production company, Universal Studios. The second is the logo of Studio Canal. There is a voice over explaining the situation of the film and the time that it is set. The screen then flashes to a low angle shot of a large Christmas tree in a shopping mall, establishing a theme of the movie and the time of setting being Christmas time. It also establishes this as a Christmas movie, released around this time also – so it gives the audience alot of clues to vital information through this use of the quick shot of the tree.
There is then also a shot of a temporary ice rink in the grounds of a large building, with the Christmas tree in the centre of the shot. This then fades to the image of Rowan Atkinson acknowledging an unseen character; this is a device for also establishing cast members in the film, with well known actors being featured in the trailer to capture the audience.
There is then a medium shot of two characters sitting together with presents surrounding them, while they talk wearing Santa hats. This also continues with the Christmas theme. There is then a shot of an actor jumping for joy off some steps up to a house, showing a comedic element to the movie, also establishing another theme. This then changes to a shot in a darkened room with only a bit of source lighting coming from a desk lamp, establishing a workplace, but also two people working together late at night beyond office hours, this already puts a sense of suspicions into the audiences minds as they watch this unravel. The shot is of a man walking towards the camera (who may be considered ‘eye-candy’ for the female audience, from his physical appearance), the shot then changes to the other person that he is looking past to camera to – we look from his perspective, over a computer screen to see Laura Linney’s face – this establishes another well known actor and also that she is the same woman from the scene before with all the presents. This moment from a scene shows an awkward acknowledgment between the two characters and hints at sexual tension between the two – highlighting a love theme of the film. The next shot then shows the man walking out of shot and away, showing their awkwardness of being in a room together even more so. The next shot is of Laura Linney getting annoyed as he leaves, obviously showing her exasperation and annoyance at herself for not saying anything to the man, this confirms some of our suspicions of their sexual tension.
Another scene is then shown of Alan Rickman (again, another famous British actor, which sets this movie to be a very British film with a well known ensemble cast) talking to Laura Linney and asking her how long she has loved the man – finally telling us for sure that she loves him. This scene is minus the voiceover so that the audience can concentrate on this scene. The theme of love is then continued and the audience begin to realise that this film will not just be about one love story or one element of love in it. The music then continues without the voiceover or vocals from the actors, and the next shot is of two people kissing in a dark street – also showing the significance of night. This shot focuses on the couple kissing, with the background of the empty street faded out, with blurry coloured Christmas lights in the right of the frame. There are also blurred white lights on the left of the screen. The audience can also establish these two actors quickly as well, at least definitely the woman who is the very well known British actress Keira Knightley.
This scene then quickly flashes to another scene of a couple kissing after a few seconds – with the male and female switched places to also establish the new couple kissing who are different to the last ones the other setting which is also blurred is also significant as it is so different, it looks to be daytime in a kitchen. The next shot is then of a small girl singing on a stage, showing a band and backing singers surrounding her – showing her importance, it almost gives the impression that the audience are looking at her from the perspective of someone who is in love with this girl and she is the focus of someone else’s attention as she stands in centre frame, with people surrounding her, a spotlight on her, and her clothing standing out more than the other people in the shot. There is also a high angle shot of some children dancing on the spot and getting excited, with bright coloured clothing and a warm orange coloured wall in the room they are in. This scene with the children shows them looking up to a character in the spot where the camera is placed. Are we replacing an adult that they are looking at? (hence the high angle shot from their perspective).
There is then a shot of the two characters we had already established as to having sexual tension and an unease around each other. This shot shows them running into each other’s arms in a bright white more homely environment, they share a passionate kiss – showing them getting their happy ending? There is then a shot of them in another room of the house, with them on separate sides of a wall as Linney secretly celebrates, and the man braces himself and prepares himself. The voiceover returns at this point to finish the sentiment that it is trying to get across with the trailer. There is then a new shot of the man we had previously seen to be kissing Keira Knightley holding up placards with messages on them as she watches him, and the camera is positioned in an over the shoulder shot near her. The shot then changes to his POV and shows Keira smiling and beaming at him. But the audience wonders what the placards are for, is it just a romantic gesture, or do they have to be secretive as she stands at her front door in her house and he is left outside.
We then see a shot with another new character, this time we see Liam Neeson, bending down to speak to a young boy in a crowded room with people walking around them and past the camera constantly, but with only these two characters in focus – showing their significance. The next shot then shows the camera panning round to see the little boy looking through a window and pressed up to it. Then, from his POV, we see the girl who was performing earlier in the trailer, and we know that she is the focus of his affection, as again she stands in centre frame, with the person in the background out of focus and blurred as the girl waves to the young boy, also showing the theme of love, and love being in different cases with different people. We then see a shot of a man outside on a sunny day in what looks like a foreign country, again, this shot is not in deep focus, so we are drawn to look at the character.
We can then see that the actor is Colin Firth, Yet another famous British actor, showing the theme of the British cinema and a quintessentially British film. As he runs toward the camera, the scene changes to a shot of Hugh Grant also running toward the camera down a set of stairs, in a very posh and stately looking hallway. He is also dressed in a suit, showing his importance, in contrast with Colin Firth, who was dressed in an old green jacket in a very sparse bit of countryside that doesn’t look particularly English. There is then a few shot of Keira Knightley and her man again, as she runs down the quiet street with the Christmas lights to catch up with him, as she reaches him the shot changes to a title ‘Love Actually’, the logo of the film with the red colouring for the ‘love’ part of the text. It then also has images of the actors/characters running across the top and bottom of the screen around this title, here we see more actors that we also did not see in the trailer. Another shot of Keira Knightley is shown as she opens the door to the camera. Then the shot changes again to another character to contrast between the scenes, and the characters differences, the same sentiment is then used again as Martine McCutcheon opens a door to the camera also. There is then a series of shots of the characters who are standing on the other side of the door. The song finishes with the prolonged ‘You’ as it flashes to each of the characters at the doors. There is then a final shot of Keira Knightley’s reaction, with logos, policies and information being shown along the bottom of the screen, depicting the production and distribution companies and the website and information for the film.

Kill Bill Volume 2, teaser trailer, 0:57.

The teaser trailer begins with the conventional green screen of information that presents an American trailer for a film, which discloses who the trailer is suitable for. The trailer then begins with two seconds of a black screen to create atmosphere. It then cuts straight to a shot looking from the back of a car through the windscreen and onto the woman driving. There is the thump of a drum with this quick cut, and then continuing drum beats. The space between the seats of the car and the windscreen are in deep focus, whereas the projection on the green screen of the road is out of focus and flat. It is also made to look quite old with the black and white colouring and the flat projection of the road and it looks quite 1940’s, whereas we now have the technology to shoot this scene for real, the impression is given that she is not actually driving. The samurai sword is brightly shining in the car to draw attention to its presence as a trademark of the film. The car is also vintage to bright significance to this element of the scene. The characters hair is blowing in the ‘wind’ - which is created artificially – to represent her driving in the convertible and almost having that carefree attitude.
The shot then fades out and the institutionalized logo of ‘Miramax films’ is brought on screen with another coinciding drumbeat and zooms in as well as fading in the word ‘films’. This then fades out with the beginning piano chords to the song ‘A silhouette of doom’ by Ennio Morricone, a famous composer for Western genre films. In fades a new shot of the character and the final chord of the melody to create significance. The character is now revealed as the main protagonist, Beatrix Kiddo. The shot is from the front – a camera shot from the bonnet of the car looking into the windscreen to where Beatrix is sitting. The black and white colouring and fades green screen background is still in effect. In this short scene the camera zooms into Beatrix Kiddo directly addressing the audience and breaking the fourth wall by describing to them exactly what she has accomplished and what she is looking to do in the future – she updates the audience on the story so far (with this film being the sequel or ‘second half’ of the first film.)
There is then a title, designed in the trademark Kill Bill colourings of black writing and a yellow background, with almost black rip in the yellow down the side of the title screen. The music then continues with new segments and progressions of the track. There is also the added sound effect of a samurai sword moving through the air. The titles ‘The new film from Quentin Tarantino’ are then stamped in and come from in front of the audience. It then cuts back to Beatrix explaining more of her story in the car, with the exact same shot as before, but with a different background on the projection to represent her travelling, moving and progressing. She then directly references to this being a movie, again breaking the fourth wall but to extremes as she refers to how she went on “What the movie advertisements referred to as a ‘roaring rampage of revenge’” After this statement, the music is then accentuated again as four drum beats cut in. The yellow and black titles return with the a cast title of ‘Uma Thurman’ with two black rips in the bottom left hand corner and the top right hand corner. The title for her name is flashed in from the top left hand side and pressed in from the front.
We flick back again to Beatrix Kiddo talking of how the movie advertisements statements were correct and she “got bloody satisfaction”. The music takes a different turn after this and becomes thicker with more homophonic sounds and string instruments. A title quickly flashes back in, again with a rip along the right hand side showing information rather than credits. It states ‘This Spring’ – giving a time schedule for the film and more information for the audience to take in, and anticipation of the time until this new film. There is then a coloured close up shot of David Carradine (Bill) Who is talking down to a character, who is then revealed to be his younger brother, Budd, in the next shot, who is sat down (perhaps on the floor) making use of levels and high and low camera angle shots, and the use of levels to portray status’ between characters. It then flicks back to Bill’s reply to Budd. Bill is describing the Bride to Budd and also giving an outsiders perspective of the Bride – showing the audience what their perception of her may be.
There is then another title with a tagline which has a black rip down the left hand side of the screen this time, saying: ‘It’s not over’ which is then stamped over with the sound effect of a samurai sword and then replaced by the text in a larger font saying: ‘Til it’s over’ which comes in with a loud sound like an aeroplane taking off or a car driving past. We then get brought back to an ECU of Beatrix Kiddo sharing her final words of the trailer in her trademark black and white scene again, to separate her from the other shots of Bill and Budd. The music climaxes and grows to its highest point, before cutting out promptly as another title comes on screen with black rips along the top and bottom of the screen, with ‘Volume 2’ in text to explain that it is more the second half of the first film and has relevance to it, and explain the situation more to the audience.
We flashback to Beatrix Kiddo’s scene, with a sped up zoom into her face, which has an angry expression painted onto it, to show how the ‘revenge’ will be continued, and the music continues with its previous melody from the beginning. Beatrix’s face then changes to her giving a quick wink and an evil half smile, with a look of mischief on her face. Along with the wink there is a ‘ding’ sound like a triangle being hit, emphasising it and making her look slicker, slyer and more mischievous.
There are then the final titles in the yellow and black theme, which state ‘Spring 2004’ as this is brought in, it rotates along to the sound of the drumbeat and has institution references along the bottom of the screen with details of production and distribution companies and the website for the film for the audience to acquire more information. There is one final drumbeat and the screen is then left black for a few more seconds to allow the audience to take all of this in and reflect on the trailer they have just seen for a few seconds, to make sure they remember it and take significance.