Blade Runner - (1982)
Why Blade Runner?
What I can take from it:
- Quite simply, "Blade Runner" was the film that got me into films in a big way, and more importantly, what made me want to direct them. It's also the most direct inspiration for my FMP, or at least the world in which it takes place; a grimy, dystopian future with a very morally grey outlook.
- Apart from it being my inspiration and giving me the idea for my films overall tone, I though that particular story beats and technical aspects might also prove effective when implemented in my own film.
What I can take from it:
- I think the main takeaway from Blade Runner (apart from the noodles), has got to be the establishing shots, involving wide and sprawling city-scapes and flying cars. these are best shown off in the opening scene of the film.
|
Here we get a first view of the world of Rick Deckard, and it's a wondrous sight, and also an intimidating one, with the low light and giant spurts of flame leaping into the sky. It perfectly engages the audience, bringing them in while letting them know that this is grimy and dingy place, not just an impressive one. Hopefully I can aspire to create establishing shots not unlike this, to really set my scene and try to sell the dystopian/futuristic aspect of my film.
|
Another trick I can utilize in a Blade Runner-like fashion is the technique of compositing with mattes, something which I know is not unique to the 80's film, but is certainly used very effectively in it.
So by combining my own footage with 2D mattes that I will make, I can hopefully embed my characters into my fictional world in a fairly convincing way. the main drawback to this technique is that it severely limits, or totally negates camera movement, which means that's something I'll have to make up for in the other areas of my film. |
Vangelis Working on Blade Runner
|
The Score from Blade Runner is truly iconic. The electronic droning and beautiful twinkling synths are one of the film's most memorable aspects, and creates a strong impression when matched with the gorgeous visuals, which ensure that you will easily be able to picture Ridley Scott's dark vision of the future in just moments of hearing the soundtrack.
I think if I can find, create or use a soundtrack that is both striking and memorable that will really help my film's effectiveness. It would certainly help tonally if it were in the same vein as Vangelis' Score, at least in parts. |
other then the moral ambiguity of the dystopian worlds I wish to emulate, and the more practical side of the visual and auditory nature of films like Blade Runner, there's one very specific element of the story which I wish to use. this is the "Ambiguous Ending", in which our hero's story leaves the audience in a state of suspense, and with questions unanswered.
Though some do not like this style of conclusion to a film, i think it wonderfully mirrors the ambiguous and unsure tone of my film. It is also, in my opinion, much preferable to a large action set piece for a finale, as I think that would totally jarr with the vibe I'm hoping to create. |
|
Sweet Smell Of Success - (1957)
Why Sweet Smell of Success?
What I can take from it:
- Sweet Smell of success has for a long time been my favourite "film-Noir" (though in reality it doesn't have that many elements of that genre other than it's style and tone). The film takes place entirely in a bustling and grimy city, which is a suitable parallel to my own production, and the look and feel of it are truly immersive. One of the primary reasons for my love of the film is it's screenplay, which rather perversely, is not something I will be focusing on.
What I can take from it:
- So this film isn't set in a dystopian future, or really to do with crime or looking after ones brother, so what exactly is my reasoning for choosing to analyse this film? Two main things stand out: The atmosphere it creates, and something I have already mentioned many times in my research, Moral Ambiguity.
|
This film is absolutely steeped in a 50's New York seedy atmosphere. While that is not what I'm trying to achieve, watching it helped me think of ways to try and create an immersive, and thickly dense atmosphere.
this title sequence is very striking for a number of reasons, from the score to the sharp nighttime city visuals. In the clip it's clear that we are following the mail van, which is because the film focuses on people working in that area, but what the scene does well, is as we follow the truck, it shows us the city,and the life within it. Not dissimilar to Blade Runner's opening; it's a great scene setter. |
Also, the loud, bombastic music grabs our attention instantly, insisting on the impressive nature of the city, while also simply keeping the audience engaged.
I think beginning a film in this way would actually really suit my own film. I aim to have a montage with my opening credits, that follows my hero as he goes about both his life of crime, his legitimate work, and the time he spends with his brother, all with a fairly memorable piece of music overlayed.
I think beginning a film in this way would actually really suit my own film. I aim to have a montage with my opening credits, that follows my hero as he goes about both his life of crime, his legitimate work, and the time he spends with his brother, all with a fairly memorable piece of music overlayed.
As before mentioned, the seedy, nighttime element of the film isn't just in the look of the film, but also pervasive throughout it's themes and dialogue. What this clip shows (other than marvelously witty writing) is the unpleasant nature of these two men, and how dodgy activities are totally normal to them, just a way of life. This is common all throughout the film, as the man we follow is rotten to the core and without any sort of redemption.
|
|
One potential parallel that can be drawn between this film and my own is the duality of boss and henchman. The hero in my film does shady work for a mysterious criminal boss, not unlike Sydney Falco does the dirty work for J.J Hunsecker in Sweet Smell of Success. Where this parallel deviates is in the key element of my own character, who will be given a redemption arc, in the form of his brother.
The reason for doing this is to create a more empathetic character. While I love Sweet Smell of Success, I can't exactly say it has me rooting for it's leads, and I wanted a hero who didn't always do the right thing or a good thing, but someone you always want to get behind.
The reason for doing this is to create a more empathetic character. While I love Sweet Smell of Success, I can't exactly say it has me rooting for it's leads, and I wanted a hero who didn't always do the right thing or a good thing, but someone you always want to get behind.
Dark City - (1998)
Why Dark City?
What I can take from it:
- Well, While in many ways Dark city is the film of the four I've chosen that has least bearing on my own production, it stood out to me in my earlier research as being a fascinating blend of science-fiction and film noir. In fact this is true to such a great extent that it really reminds me how little my own film shares these elements - especially the latter - in comparison to the 1998 film.
What I can take from it:
- Despite the film's wonderful story, I have to disregard all but the purely visual elements of this film, and how it blends it's genres.
So the aesthetic of the film is a grimy 60's looking city, with some bizarre sci-fi elements as shown in this clip on the right. The main takeaway is undoubtedly the retro feel of the city, the clothing and the vehicles, and the "dark" nature of the film, almost entirely taking place at night. It gives the city an understandably eerie and sinister feeling that I would love to capture in my film. |
|
Other than the city and setting of Dark City, the clothing is really great. Although less obvious than Blade Runner's more cyberpunk (emphasis on punk) style, it is Noir-ish in nature and really adds to the look of the film. The long coats and fedoras are certainly something I'd like to have at least a nod to in my FMP. Finding the balance with costume is tough, because it needs to fit consistently into the world u create. in Dark city's case it sticks to a very defined 60's look, whereas I will have to be a bit bolder.
|
A final takeaway from the 90's cult film is it's gorgeous colour grading. it's all deep murky greens, blues and greys, with washed out yellow and red highlights. The colour really helps sell the mood of the film, and it makes the city feel truly drab and run down, not to mention highly creepy.
I'm not sure I want to have quite the same level of green present, but what this film showed me was the strength of having a really distinct colour palette. It helps tie your film together and keep it visually cohesive. So what I should do, with Dark City in mind, is pick a dominant colour and try to keep that as a main target when grading my films colour in post production.
I'm not sure I want to have quite the same level of green present, but what this film showed me was the strength of having a really distinct colour palette. It helps tie your film together and keep it visually cohesive. So what I should do, with Dark City in mind, is pick a dominant colour and try to keep that as a main target when grading my films colour in post production.
The Third Man - (1949)
Why The Third Man?
What I can take from it:
- The Third Man, from iconic director Carol Reed is widely regarded as one of the greatest noir films of all time. So if I was going to study a noir film , it made sense for it to be this one. The film boasts a great story, performances and camerawork and lighting. It's the last of these things that really caught my attention in relation to research for my FMP.
What I can take from it:
- So as I just mentioned, the camerawork and lighting is the main thing this film has taught me. I'm a big fan of early cinema's simple but effective cinematography, which has an almost theatrical feel. This film displays that exceptionally.
One of the most famous scenes in the film is the appearance of Orson Welles character. It's a superb example of the very defined camerawork and lighting.
To begin with, there are a lot of wide shots, which include the character in his entirety. This lets the audience into the scene and gives them a very clear idea of what's going on and where it's happening. |
|
There is also an abundance of Dutch angles in this scene, clearly something the film's Cinematographer Robert Krasker was fond of. They do work really well here, helping to convey the mystery and confusion of the scene, as well as spicing up the static nature of some of the shots.
A striking moment here is that moment that the window is thrust open and light falls onto the face of Orson Welles. It's a great reminder of the power of strong directional lighting to add emphasis or in this case help drive the story in an impressive way.
A striking moment here is that moment that the window is thrust open and light falls onto the face of Orson Welles. It's a great reminder of the power of strong directional lighting to add emphasis or in this case help drive the story in an impressive way.
|
The Third Man is famous for it's use of shadows and silhouettes, and here the latter are most wonderfully utilized in the films concluding chase scene. The silhouette is a powerfully striking image, whether used to add emphasis to a known character, or to keep them a mystery. Actions performed in Silhouette gain a stark nature, with the sharp contrast of black figures on a paler background burning images into our minds and memories.
|
So while once more not taking much from the themes or story of the film, The Third Man has been instrumental in how I've decided to frame, shoot and light my film. I will want to use Dutch angles to spice up otherwise plain shots, or to emphasize moments of panic, confusion or mystery. Also using shadows and silhouttes is something that will hopefully add an element of style to my production's look, making it more memorable than it might have otherwise been.
The only remaining question is shall I make my film Black and White in homage to the Noir films that it will take inspiration from? I'm really leaning towards no, as I think that as striking as shadows and silhouettes look in black and white, they still look great in colour, and then I also get to give my film a unique and hopefully evocative palette.
The only remaining question is shall I make my film Black and White in homage to the Noir films that it will take inspiration from? I'm really leaning towards no, as I think that as striking as shadows and silhouettes look in black and white, they still look great in colour, and then I also get to give my film a unique and hopefully evocative palette.
- Big Brother -