Wednesday, 24 November 2010

Se7en: Title Sequence Analysis




Se7en is a 1995 American film directed by David Fincher. The opening titles were designed by Kyle Cooper. 

At the very beginning of the opening sequence we are give a look in to the character of Detective Lt. William Somerset who is played by Morgan Freeman through the use of representation and mis-en-scene. Detective Somerset is shown in the kitchen facing the sink, cleaning up coffee, wearing a white shirt and his surroundings mostly white. This could represent the image of justice as he is a detective but also purity. When you look at the window the light seems a blue in colour which in contrast with the white surrounding could represent the coldness of the world outside his apartment. 


In the corner of the screen there is a chess set which could connote that he is a strategic thinker who is a step ahead, he is intelligent or could refer to the film being like a game of chess, him against the serial killer.


The tilt up of the character face, as he is tying his tie, revels the main character and how his behaviour will be, and the mood of the film will be due to his serious expression.
A close up of the table shows his badge, his pocket knife, his pen, etc. All lined up in a row, shows that he is a methodical persons. The shot of him flick the dust of his jacket represents he is observant, which is reinforced when he is walking around the crime scene, talking to the other detective at the scene. 


Somerset is also portrayed as a person that care which is represent when he is asking question like if the child saw the murder take place, where the other detective reacts asking what kind of question is that. This again could also represent Somerset's attention to detail and observation.


The audience are also then introduced to Detective David Mills played by Brad Pitt, who is chewing gum, which could represent him as a cocky character, which is reinforced when Somerset and Mills step out side, after the body has been bagged, with Mills ignoring Somerset about going to a bar and continuing on about transferring and being dumper on a case in the morning of his arrival. 


Somerset then asks Mills why him why he transferred, to which Mills replays cocky. To which Somerset puts him in his place, by saying that the previous work with homicides is different to where he has transferred to, to which replays he understands that. Somerset then mentions a key point, about how for the next 7 days he will remember that. This is a key point about the plot as the murders occurs over a period of 7 days, 1 per day. 


The shot then jumps to Somerset reading in bed, again which represents him being intellectual. For a brief period as Somerset takes of his glasses, you can hear an argument and the street and dogs barking, which represents and conveys the image that the town is dangerous somewhat. 


Somerset then reaches over to the start metronome, which ticking emphasizes the silence and the ominous atmosphere, also the dolly moving towards Somerset's face could emphasise the killer/murder coming in closer.


The scene then jumps to the title sequence which shows a close up of an empty book and a shadowy/ blurry had flicking the pages. The typography is distorted and sketchy, which could represent the murders state of mind and the the sound of the rewinding tape, could represent the killers mind replaying the same thing over in his head. The lack of colour in the opening sequence also represents the killers state of mind, dark and unfocused on reality.


The attempting scarring of the finder prints and the crossing out of a man's face could suggest he is trying to erase himself, or trying to hide who he really is. 


The book the killer is compiling could suggest he is planning something, by complying photos of dead people and negatives. There are references in the opening sequence to surgery methods, such as the stitching of the book and using the scalpel and tweezers to remove the word god. The word cutting out of the word god is also symbolic suggests that he is religious and suggests the killings and religion are related. This is backed up as the killings might bring the killer 'closer to god', which is a voice over at the end of the sequence.   





Smashing Magazine: The Art Of Film Title Design Throughout Cinema History

http://www.smashingmagazine.com/2010/10/04/the-art-of-the-film-title-throughout-cinema-history/

1. Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. Distinct from these inter-titles was the film’s main title, a vehicle of particular concern to film producers because of the legal, copyright and marketing information this footage had to bear.

So this was the beginning of typography, and how it was used to explain a narrative, similar to how text is used to give the audience expectation about the genre in the opening credits.

2. A great draftsman and visual storyteller, Saul Bass ran the gamut of techniques for his title sequences: montage, live action, cut-out paper animation, typography in motion, to name a few. Whatever technique he used, Bass summarized the film as a metaphor that often shone with creativity.

Similar to how Richard Morrison and Kyle Copper, create a vision or tell a story via the opening credits to give the audience some insight to what they are about to watch, through the use of theses techniques.

3. Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do.

Changed the way titles are created by embracing the new technology of computers and graphics, Kyle Cooper wasn't the only one to do this, Richard Morrison also embraced it over his 30-40 year career span.

4. Throughout the history of cinema, film titles has evolved with the film industry, as well as with social trends and fashion movements. But the measure of a title design’s quality is the same now as it was in the silent era. Whatever function they perform, titles remain an essential part of film


So as technology and times have changed, opening title sequences have changed to accommodate it to appeal to the audiences to give the audience expectation of the genre and to reveal small parts of the narrative. However it still plays an important role in any film and that is the same way through out history.


5. The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.

So through typography and digital graphics, designers such as Susan Bradley produce metaphoric imagery to tell and exciting story through their opening sequences by using a manner of different tools and approaches. Which has evolved from the typography used in silent movies.

Production Brief: Love on The Line

Richard Morrison: Title sequence designer

Richard Morrison is and iconic title sequence designer, who's career spans over 30 years, with more than 100 feature film title sequences created.

Morrison started his carreer working at a production studio where he ran into Maurice Binder. He assisted Binder with the production of the main title sequence of one of the Bond movies, this led him to pursue movie title design.

He got his first break in 1979, when director Franc Roddam asked him to design the main title for Quadrophenia.

Morrison's has also worked with notable directors include Tim Burton, Terry Gilliam, Jean-Jacques Annaud, David Lean, Stephen Frears, Kenneth Branagh, Ridley Scott, and Nicolas Roeg.

After having run the design and production company 'Plume' for more than twenty years, Morrison founded Fig Productions in 1998.

In 2007, he joined the animation and mixed media production company Th1ng in London.

One of the character traits that defines Morrison as a designer is his ability to connect to people, he also intuitively understands what a project needs. He is not just a designer, but a storyteller aswell.

Morrison has designed title sequences for: Castaway, Tamara Drewe, Sweeney Todd: The Demon Barber of Fleet Street and Batman (1989)

Richard Morrison quoted: “there is a limitless world of creativity”.

Catalogue of work


2010 'Tamara Drewe' 

2008 Vantage Point 
2007 Sweeney Todd: The Demon Barber of Fleet Street 
2007 The Golden Compass 
2007 Sleuth 
2007 Confessions of a Diary Secretary 
2006 As You Like It 
2006 These Foolish Things 
2006 Perfect Creature 
2005 A Very Social Secretary 
2005 Tideland 
2005 The Constant Gardener 
2005 Valiant 
2004 Seed of Chucky 
2004 Oyster Farmer 
2004/I Creep 
2004 Ella Enchanted 
2004 Two Brothers 
2003 The Dreamers 
2003 Girl with a Pearl Earring 
2003 Vacuums 
2002 9 Dead Gay Guys 
2002 The Magnificent Ambersons 
2001 High Heels and Low Lifes 
2001 Enemy at the Gates 
2001 Je t'aime John Wayne 
2001 Sword of Honour 
2001 Phoenix Blue 
2000 Vertical Limit 
2000 The Last of the Blonde Bombshells 
2000 Mad About Mambo 
2000 Honest 
2000 Circus 
2000 Nora 
2000 High Fidelity 
1999 Running Free
1999 Guest House Paradiso 
1999 My Life So Far 
1999 This Year's Love
1998 Hideous Kinky 
1998 Get Real
1997 Spice World 
1997 Seven Years in Tibet 
1997 Event Horizon 
1996 Trojan Eddie 
1996 Small Faces 
1996 Witness Against Hitler 
1995 Copycat 
1995 Hackers 
1994 War of the Buttons 
1994 A Good Man in Africa 
1994 Tom & Viv 
1994 Golden Gate 
1993 The Hour of the Pig 
1993 The Innocent 
1993 Great Moments in Aviation 
1992 The Silent Touch 
1992 Wuthering Heights 
1992 Dakota Road 
1992 The Long Day Closes 
1992 City of Joy 
1992 Split Second 
1992 Blame It on the Bellboy 
1992 The Bridge
1991 K2 
1991 Twenty-One 
1991 Meeting Venus 
1991 The Miracle 
1991 December Bride 
1990 Memphis Belle 
1990 Chicago Joe and the Showgirl 
1990 Nuns on the Run 
1990 The Reflecting Skin
1990 Strike It Rich 
1990 Ladder of Swords
1989 The Wolves of Willoughby Chase 
1989 We're No Angels 
1989 All Dogs Go to Heaven 
1989 Diamond Skulls 
1989 Batman 
1989 Venus Peter 
1989 Joyriders 
1989 Resurrected 
1989 Killing Dad or How to Love Your Mother 
1988 High Spirits 
1988 Madame Sousatzka
1988 We Think the World of You 
1988 War Party 
1988 Distant Voices, Still Lives 
1988 Paperhouse 
1988 Some Girls 
1988 A Fish Called Wanda 
1988 A World Apart
1988 Pascali's Island
1988 The Fruit Machine 
1988 For Queen & Country 
1988 Soursweet 
1988 Track 29 
1988 Little Dorrit 
1988 The Nature of the Beast 
1988 Vroom 
1987 Someone to Watch Over Me 
1987 A Month in the Country 
1987 Aria
1987 The Whales of August 
1987 Hellraiser 
1987 On the Black Hill 
1986 Castaway 
1986 The Mission 
1986 Link 
1986 Rita, Sue and Bob Too! 
1985 A Chorus Line 
1985 The Good Father 
1985 Return to Oz 
1985 Brazil 
1984 A Passage to India 
1984 The Killing Fields 
1984 Crimes of Passion
1984 Cal 
1984/I The Frog Prince 
1984 Laughterhouse 
1983 Bullshot 
1983 Loose Connections 
1982 Gandhi 
1982 Moonlighting 
1979 Quadrophenia 


Sweeney Todd


Through the use of saturated colours, the blacks and the dark blues of the opening title sequence, gives a dark and omious atmosphere, through the silhouette buildings, the auedience can see this will be set in a city.

High angle shot through the window gives a sense of power over the situation, in almost a god-like fashion, could relates to Sweeney Todd's character having control over peoples deaths.

A splash of blood it highlighted significantly in contrast to the black surrounding, curiosity and the eerie tone music is keeping the audience on their seats.

Blood oozzing of the walls, disfigured silhouette, again contributes to the atmosphere and tone of the films, maybe linking in to the characters disfigured mind.

The process in which sweeney todd uses to get rid of the bodies, showing giving small hints into the plot of the film, keeping the audience on their seat.

Richard Morrison Interview
http://www.watchthetitles.com/articles/00193-Richard_Morrison_interview

Tuesday, 23 November 2010

Continuity Piece- Gossip



What did you find difficult about this task?
I found using the editing program difficult, since it was a different program to the one I am use to.

What new skills have you acquired or developed?
I gave gained new knowledge about cinematography, and how and why the 180 degree rule is used. Also have gained a very small amount of knowledge on how the program works.

What worked well?
I think working together to try and solves problems that we came across, also the fact that we knew what we were doing when we were filming.

What could you or your team have done better?
We could have been more effective at using the editing software but we overcome that problem.

Monday, 22 November 2010

Media Research: Opening Titles of a Specific Genre







Love actually: http://www.youtube.com/watch?v=B3GWzLpkVdg&feature=related
Bridget Jones's Diary: http://www.youtube.com/watch?v=0D0zfB1l1x0

In media yesterday we were looking at various opening of films, that relate to the genre we wish to use for our coursework piece. My Group decided to chose Romantic-Comedy as the genre for our piece, due to the practicality. The Film Openings I looked at were:
The Proposal
10 Things I hate about you
Bridget Jones's Diary
4 weddings and a funeral
Love Actually

I found that they were all very similar, each started of with a soft soft of song, which gives the audiences the expectation of romance,except for 10 things I hate about you which had a contrast with 'One Week by barenaked ladies' and 'Bad reputation by Joan Jett' to show the divide between students., however the Mise en scène of how the actor portray the character in a comical way for example Bridget Jones's Diary.

Through the Mise en scène, the audience is given the expectation of a comedy, while the music gives an expectation of love, except for 10 things I hate about you.