Script

Script for ‘One – Two’.

This was a group task that was produced by me and my team members.

INT. CHANGING ROOM – EVENING

SCENE 1:

[Cue dramatic music]

[CHARLIE with hands on sink in front of mirror slowly raises his head and stares at himself, contemplating this could potentially be the biggest moment of his life – surrounded by dirty, run – down sinks and showers]

[Lowers his hood]

[Begins to jump around getting himself excited and begins shadow boxing in the mirror, literally shadow boxing as the key lighting is used correctly in order to achieve this effect – implemented within the mis-en-scene is a generic convention of a ‘water bottle’]

[Sound fades out to cue dialogue]

ZAC

“Jack, Jack”,

[Upon realising he can’t hear him, he touches his shoulder and his hand enters the frame]

ZAC

“You ready?”

CHARLIE

“I’m ready”.

[Music fades in]

[Charlie getting his hands taped up by the coach and his gloves put on]

[He then looks at himself in the mirror again and smashed his gloves together aggressively]

[ESTABLISHED SHOT of the changing and CHARLIE slowly walks out, ready for his fight]

SCENE 2:

INT. CORRIDER – EVENING

[CHARLIE walks out from the door and through the corridor, while using a Silhouette camera technique to illustrate the passion and provide the audience with an engagement to continue watching as it connotes a dramatic element to the film]

SCENE 3:

INT. BOXING RING - EVENING

[Cut away shots to pass time while CHARLIE enters the ring]

[Fast paced movements and editing of CHARLIE’s feet in the ring, also tracking shots of him warming up pre-fight]

[CHARLIE and ZAC in the corner of the ring pre – fight with CHARLIE sitting on a stool]

[ZAC places the gum shield in CHARLIE’S mouth]

[Music fades out]

ZAC

 “Are you ready?”

[CHARLIE nods]

ZAC

“You go out there, you kill this guy, no mercy”

[CHARLIE shakes head aggressively]

ZAC

 “You know what you’re fighting for”

[Cue dramatic music that fades in slowly, in order to create a build – up of tension for the demographic]

[In the ring, CHARLIE stares at his opponent and they begin boxing, no punches land and the REF is watching very closely]

[Sound of heavy breathing to intensify the ‘atmos’ of the boxing match]

[JOE throws two punches that connect to CHARLIE and he falls]

[Floor shot of CHARLIE’S head hitting the floor]

[Film cuts to black with the title ‘One – Two’ appearing separately in sync to a heartbeat sound]

This script supports the uses and gratification theory as it is designed to entertain the audience. This therefore meets their needs suggested in this theory for why they use the media.

Title sequence - explanation

Title sequence – Explanation:

My title sequence revolves around the audio, and encourages active audiences to listen carefully. The voice over recorded over the titles consists of a motivational speech from the protagonists (the boxers) point of view. I tried to achieve the accent of the boxer how a stereotypical boxer may sound but at the same time I wanted to provide tension and an element of build – up within the speech I recorded. In addition, the visuals within the mis-en-scene are limited as it primarily engages one out of the five human senses, instead of the conventional sense of sight, but offered an alternative to the target audience that would differentiate my title sequence from the others. And in this case it was hearing that I tried to stimulate while viewing the start of my opening sequence – the title sequence. In order for the enhancement of this sound effect to reach its full potential, the mis-en-scene throughout the entire credit sequence was plain Black and White text featuring all the conventional credits a stereotypical audience would expect to see.

Furthermore, the font of the words appearing in the frame are crucial as it is the only visual iconography that the audience views. In order to create a generic boxing theme through the use of the font by incorporating words, I used contemporary block capitals to express the connotations. Such as: power, determination, passion etc. Also, the background is always a black, blank screen (with the words coming and going on top) connoting mystery behind whom this boxer maybe.

The purpose behind the motivational speech is to connote pride and resilience, signifying the boxer is passionate about his first ever fight; connoting to the target audience from the boxer’s perspective, in order to feel a real sense of endearment towards the protagonist in the opening sequence and potentially form a connection, between the active audience and the boxer. The syntactic elements within the title sequence are definitely there, as it sparks an emotional bond between the audience and the boxer – therefore this relates to Rick Altman’s Genre Theory.

Of course my institutional logo is at the start of the title sequence with an editing technique of a slow zoom, slowly but surely getting closer and closer to the logo emphasising who we are and the fact that we are proud of this particular production. Also, the slow zoom into the mis-en-scene implements another affect to the audience; in fact, it actually captures the active audience’s attention that little bit more! How do I know this? I conducted a small amount of primary research, concerning the affects of particular editing techniques and it bought me to the conclusion of the result my group and me have currently established to the title sequence – the slow zoom affect. This is the exact purpose and intention behind the title sequence.

Our production institution is called, ‘CCSP Studios’. This stands for all our last names: Cowley, Carter, Streatfield and Pereira. It brings an element of friendship and cooperation to our production company and I feel as it’s a nice touch overall. The simple streetlight surrounded by black darkness of the night has many connotations behind it but what’s part of all the mysteriousness is that the audience has to decide for themselves.

Credit sequences

Credit sequences:

Rocky:

The Rocky title sequence is extremely exhilarating with a dramatic, fast – paced rhythm to it; accompanied along side sketchy visuals of some of the protagonists featured in the film. It provides a hint to the audience about what the characters look like and what the film has in store for the audience. The target audience can possibly gain some foreshadowing about the characters from this effect through what the costumes are like.

Throughout the mis-en-scene of the opening sequence, one small detail stands out to me; the names of the characters are all brushed onto the screen – almost like the words have been wiped on with one stroke, signifying the powerfulness regarding the film. The straight stroke connotes the boxers throwing punches from right to left with the visuals appearing, signifying the protagonist boxer has the ambition to punch and fight anyone. This effect enhances the genre of the film – which is a sub-genre (A genre of sport and then boxing) – and provides incredibly entertaining visuals for the audience. In addition when the supposed ‘punches’ are thrown onto the screen and brushes the words, the words change colour. The fact that the words change colour after being ‘punched’ connotes the struggle boxers go through – the struggle whereby boxers are punched all the time and are changing mentally. Furthermore, the camera angle is tilted into a canted angle – connoting the character receiving the ‘punch’ being knocked to one side, signifying disorientation. Which is represented by the saturated colour, the contrast between the saturated red and black connotes the rivalry between the boxer and his/her opponent.

The font within the mis-en-scene plays a crucial role in representing the genre; the title is all block capitals, connoting the brutal reality of boxing and its genre. 

This has enhanced the institutions title sequence due to the fact that it is consistent with the genre simply because block capitals represents toughness, strength and dominance – all the stereotypes surrounding a boxer. Therefore, the font complies with not only the genre but also the whole branding of the film and in fact, the title sequence represents the film as a whole.

The background element of the sequence is most important because the sketchy artwork gives the active audience an edge about the representation behind the film and enhances the audience’s engagement. Also, the title sequence represents a ‘new hero being born’ (this is connoting the protagonist (Rocky himself)), a new boxer about to make history. This is signified through the use of a bird escaping from its cage, connoting Rocky has been unleashed into the boxing world. This has the potential to form an emotional attachment to the audience because according to Rick Altman’s theory, syntactic elements are represented in this frame as it connotes an inspirational theme about the bird escaping. This is also emphasised through the use of inspirational and ambitious music creating an atmosphere for the active audience to relate especially to this particular frame. In addition, this specific frame links with Young and Rubicam’s audience classification system because in fact, the escaping bird provides denotation of escapism for the ‘struggler’ who requires escape from their own lives. This visual iconography has a lot of deep meanings behind it and entails many stories for the audience to experience.

The institutional logo is a generic convention of all films and is essential when creating a credit sequence.

James Bond – Live and Let Die:

The Live and Let Die title sequence is fantastic because the music behind it made it to the top charts! The electric guitars bring the conventional ‘boring’ title credits to life and really engage the audience’s attention. This is echoed through the mis-en-scene where there is an extreme close up of a pair of eyes, starring at death in the face – represented through the fire in the frame, which

in turn connotes Hell and mortality. The graphic match between the eyes and the extreme close up of the skull again represents life and death – denoted in the title and the intense sound in the background. The ‘life’ frame denotes normal capital sized font, signifying structure throughout the living. Whereas the ‘death’ frame connotes the font as disorientated through the disorganised font, signifying the disorder in death. This enhances their credit sequences because it sparks the controversy between not only ‘life and death’ but also, ‘good vs. evil’.

The visual iconography of the flames separating the characters with and without the gun, representing good vs. evil which is enhanced through the title ‘Live and Let Die’ – by using the rule of thirds the evil character is dominant, signifying death which is further connoted through the genre of music (Rock and Heavy Metal (using electric guitars are conventions of these types of genres)) and the innocent, scared good character is trapped in the third of the frame to the right.

The directors are mentioned at the start of the opening credits, with the intense, colourised heat from the flames in the mis-en-scene, is potentially representing Hell with an unconventional woman in the middle of it instead of the devil.

The genre of this credit sequence is in fact a ‘hybrid genre’ that represents action and adventure, for example: the pair of hands playing with fire connotes the action aspect of the film.  The Title credits are therefore consistent with the film. Consistency is key.

Group film idea

Group film idea - Brief explanation of my opening sequence:

This piece of work was produced by mainly me but with the help of Charlie and Joe.

My film is called ‘One – Two’ which connotes the combination of punches that Jack (the protagonist) receives when he gets knocked out. I believe it’s a clever idea because it really emphasizes the fact that the protagonist gets beaten at the start of the movie; which accordingly leads onto a further narrative whereby Jack goes through a journey in order to get back up and carry on fighting for what he believes in.

Story line:

The story line revolves around Jack as the sequence starts with him shadow boxing (literally) in front of a mirror – warming up for his first ever fight! The audience feels a sense of intensity, from the rhythm of the fast – paced sound, due to the non – diegetic sound pumping them up; this can therefore offer a connection between the audience and the protagonist within the opening scene. Both the audience and ‘Jack’ are hyping up to the same music, which relates to Rick Altman’s genre theory about syntactic elements, which signify the emotional relationship between the character and the demographic. Again, this is achieved through the use of non – diegetic sound.

The generic conventions of boxing films consist of the main boxer walking out of his dressing room to begin his/her fight. I have involved this into this scene through the use of a camera technique called: ‘Silhouette’. This creates brilliant sense of ‘Film Noir’ within the mis-en-scene with the lighting in front of the camera in order to achieve this effect. It entices the audience and captures the demographics engagement.

The last scene in my opening sequence is the fight scene. This is captured through various different camera angles and the use of tracking.  The audience suspects that Jack will win this battle, however this narrative allows the film to progress and hints a further story line in the rest of the film due to the fact that Jack loses. This is echoed through the use of dialogue when Jack’s coach says, “You know what you are fighting for”. The point whereby Jack is represented as a quite dominant character – signified through the use of camera angles and the non – diegetic intense sound. This is misrepresented when Jack gets knocked out in the fight scene.

Characters:

The protagonist who is represented as the ‘Hero’ (if were relating it to Vladimir Propp’s character type) is named Jack.  Jack is protagonist in the film as he is the boxer – this is his first fight connoting he is the underdog but at the same time is represented as powerful at the start of the opening sequence.

Paris is the coach of Joe (the opponent boxer). Although Paris isn’t actually starred on set, Joe has to have a coach and Paris is just that.

Zack is the coach for Charlie; Zack is starred in the mis-en-scene towards the start of my opening sequence just before the fight starts. He motivates Jack to do his best.

Joe is the opponent in the film – he knocks out Charlie in two hits signifying the title of the film, hence the name: ‘One – Two’. Joe is a quietly confident character who does end up beating Jack, even though the build up and focus surrounded Jack.

Matthew is starred as the referee for the film. This referee takes his job very seriously and keeps his eye on things through out the fight.

Setting:

The location is very important and must stay consistent with the theme of the genre and film. It is set in quite a run-down boxing ring connoting the level of the fight – the location signifies the fight is quite low league in terms of boxing.

Props:

Generic conventions are crucial in the construction of a film surrounding a specific genre. For example: in the opening scene visual iconography is denoted through the use of a simple detail, like a water bottle connoting that boxer works hard and requires water to keep himself going.

Another convention of a boxing film is the use of gum shields when fighting, in order to make the film more sophisticated. Jack’s facial expressions connote what the fight means to him – his face is completely focused and extremely serious. This was achieved through the camera work of a close up of Jack’s face.

Costume:

The costumes that the characters wear connotes their characteristics, so therefore the wardrobe has to be accurate in order to represent them correctly. For example: Jack (the boxer) wears a black and gold robe with a hood to signify mystery about the character because he is unknown in the sense that he has never fought professionally before.

Genre:

Originally, I was leaning towards the idea of a hybrid genre consisting of ‘drama’ and ‘action’.  A hybrid genre is extremely effective due to that fact that the audience gets the ‘best of both worlds’ in terms of engagement through two different genres. However, the genre I have chosen is a sub-genre. This particular sub-genre is under the category of sport but is then simplified down to boxing.

Age rating:

The age rating is based on the fact that the opening sequence contains violence and therefore age needs to be restricted. Although age does need to be restricted, it shouldn’t be restricted to the extent that it narrows the audience down too much. Accordingly, the age rating is 12.

Practising using the equipment

Practising using the equipment:

My group and I went out to a previously chosen location, in this case, the park. We practiced using equipment so when we come to film our main opening sequence our skills in using the equipment are perfected so the film will be the best quality possible. We practiced using the tripod, for example we practiced keeping it stable and level whilst stationary and whilst panning. I also practiced using the camera, mainly filming handheld shots so if I choose to use this in my main idea it will look professional. I also practiced zooming in and out so I can perfect this if I choose to use it in my opening sequence. We also experimented with shooting through visual iconography, for instance: physical barriers as a representation of a divide between each competitive opponent, signifying separation of competition.

 I also introduced some cutaways of conventional park related shots, such as: a swing swinging and the roundabout swirling round and round. This demonstrates the interruption of a continuous long take, connoting the interruption and divide between opponents (in particular boxers, which happens to be the protagonist in my opening sequence).

Planning for the preliminary task

PLANNING FOR THE PRELIMINARY TASK:

My group and I are going to film our ‘prelim task’ in an interview scenario. It is going to entail a criminal being interviewed by two officers in a tense tight office room. The costume will be interviewers dressed ‘smartly’ to appeal to the stereotypes of interviewers, the criminal in a tracksuit and the criminal’s lawyer also dressed ‘smartly’. The scene will involve the interviewers questioning the criminal rigorously until he explodes violently.

·      HOW I WILL USE THE 180 DEGREE RULE:

o   When I am filming the interviewers talking to the lawyer, I will make sure it follows the 180-degree rule. I plan to break it for when he speaks to the criminal as it connotes disorder and unpredictability building up to the explosion of anger the interviewee unleashes on the props surrounding him.

·      WHEN I WILL SHOW A CHARCETER WALKING THROUGH A DOOR:

o   When the criminal is entering the room accompanied by security.

·      WHEN I WILL SHOW SOMEONE SITTING DOWN ON A CHAIR:

o   The interviewee sits down in the chair, ready to be questioned.

·      WHEN I WILL HAVE A CONVERSATION:

o   Between the interviewer and the interviewee.

·      USE OF SHOT, REVERSE SHOT:

o   When the criminal and the officers are talking, I will use this to connote conflict amongst the characters.

·      WHEN I WILL USE ACTION MATCH EDITING:

o   I will use action match editing when the criminal becomes violent and starts to ‘smash up’ the props

      within the mis-en-scene. I will action match the different aggressive events – the editing will consist of fast-paced movements; in order to signify the intensity of the explosion of aggression and anger.

·      THERE WILL BE NO CONTINUITY ERRORS.