Beguiled Screenplay
Scene 1 – EXT.
Harry walks away from the camera in slow motion, and throws his police badge over his shoulder.
Harry
Voiceover over a black screen
I was always told to keep my friends close but my enemies closer. Whoever told me that was an idiot.
Scene 2 – INT. – initially upstairs corridor in ash, then an office
Busy waiting room. Harry sits with back to the camera. A secretary comes into shot
Secretary
Captain Carter will see you now Harry.
Harry gets up and walks through some doors into a busy corridor, with offices of either side. People walk about quickly, carrying papers and things between rooms. Harry goes through another set of doors stopping outside a closed door, she knocks and enters.
Office is not massive, but has a cluttered desk, which the captain sits behind. The blinds are shut and the light is not massively bright.
Captain
Ah! Stewart come, in take a seat.
Harry sits down on the chair in front of the desk.
Harry, I have some bad news. I don’t know how to say this, but you have to know before everyone else. (Pause) Harry, Nigel has been killed on duty. I’m sorry.
Long emotional pause
Harry
Does Lily know?
The captain shuffles in his seat
Captain
(Deep breath) That’s the main reason I brought you in. (Dramatic pause) She’s been kidnapped.
Harry is shocked. Silence.
Captain
We want you on the case.
Captain slides a photo of Nigel and Lily across the desk
We know this must be hard for you, but the fact you were so close to them means you won’t fail.
Scene 3 – EXT. –near the Deep
Harry is leaning on a barrier overlooking the river with a cup of coffee in one hand, he gets the photo out of his pocket.
Harry
(To photo) I won’t fail you.
Slowly walks away, putting photo back in pocket. She gets her phone out and calls her new partner Smith.
INT. Smith is sat in a busy office, in the same building from the second scene. People are bustling about handing him things. He answers the phone resting it between his face and shoulder.
Harry
Smith, meet me at Nigel’s, were going to need a forensics team down there too. Have the forensics come back on Nigel’s body?
Smith
No, but the body was pretty messed up. They should be with us within the next few days. God, it’s hectic down here. Where are you?
Harry
Collecting my thoughts
Harry hangs up the phone. Smith is then left in a busy office, looking annoyed as he puts the phone down.
Scene 4 – EXT.
Smith waits outside a house as Harry pulls up in a car. Harry gets out of the car and walks up to Smith. Smith hands him a cup of coffee and they start to walk towards the house.
Smith
The white suits are already in there.
They walk out of shot.
Friday 4 December 2009
Sunday 1 November 2009
"Beguiled" Storyboard & Animatic
We finished the storyboard for our sequence and then created an animatic using Windows Movie Maker.
Script & Name
We have decided to call our film "Beguiled".
Script:
Harry slowly walking away, over his shoulder he throws the badge.
Harry Voiceover: I was always told to keep my friends close but my enemies closer. Whoever told me that was an idiot.
Secretary: Captain Carter will see you now Harry.
Harry gets up and walks through a busy main office, opens door and walks in office.
Captain: Ah! Stewart come in, take a seat.
Harry sits down.
Captain: I don’t know how to say this, but you have to know before everyone else. Pause. Harry, Nigel has been killed on duty. I’m sorry.
Long emotional pause.
Harry: Does Lily know?
Captain: Deep breath That’s the main reason I brought you in.
Dramatic pause
She’s been kidnapped.
Harry is shocked. Silence.
Captain: We want you on the case.
Captain slides a photo of Nigel and Lily across the desk.
Captain: We know this must be hard for you, but the fact you were close with them means you won’t fail.
Harry is leaning on a barrier overlooking the river with a cup of coffee in one hand, he gets the photo out of his pocket.
Harry: (To photo) I won’t fail you.
Slowly walks away, putting the photo back in his pocket. He gets his phone out and calls his new partner.
Smith picks up phone
Harry: Smith, meet me at Nigel’s, we need forensics. Have the forensics come back on Nigel’s body?
Smith: No, but the body was pretty messed up. They should be with us within the next two days. God it’s hectic, down here. Where are you?
Harry: Collecting my thoughts
Harry hangs up phone and leaves Smith in a busy office.
Smith waits outside a house as Harry pulls up. Harry gets out of car and walks up to Smith. Smith hands him a cup of coffee and start to walk towards the house.
Smith: (talking to Harry) Forensics are already in there.
Script:
Harry slowly walking away, over his shoulder he throws the badge.
Harry Voiceover: I was always told to keep my friends close but my enemies closer. Whoever told me that was an idiot.
Secretary: Captain Carter will see you now Harry.
Harry gets up and walks through a busy main office, opens door and walks in office.
Captain: Ah! Stewart come in, take a seat.
Harry sits down.
Captain: I don’t know how to say this, but you have to know before everyone else. Pause. Harry, Nigel has been killed on duty. I’m sorry.
Long emotional pause.
Harry: Does Lily know?
Captain: Deep breath That’s the main reason I brought you in.
Dramatic pause
She’s been kidnapped.
Harry is shocked. Silence.
Captain: We want you on the case.
Captain slides a photo of Nigel and Lily across the desk.
Captain: We know this must be hard for you, but the fact you were close with them means you won’t fail.
Harry is leaning on a barrier overlooking the river with a cup of coffee in one hand, he gets the photo out of his pocket.
Harry: (To photo) I won’t fail you.
Slowly walks away, putting the photo back in his pocket. He gets his phone out and calls his new partner.
Smith picks up phone
Harry: Smith, meet me at Nigel’s, we need forensics. Have the forensics come back on Nigel’s body?
Smith: No, but the body was pretty messed up. They should be with us within the next two days. God it’s hectic, down here. Where are you?
Harry: Collecting my thoughts
Harry hangs up phone and leaves Smith in a busy office.
Smith waits outside a house as Harry pulls up. Harry gets out of car and walks up to Smith. Smith hands him a cup of coffee and start to walk towards the house.
Smith: (talking to Harry) Forensics are already in there.
Influences
Our film is influenced by many other thriller films including:
Our first scene of Harry throwing his police badge over his shoulder and walking away is inspired by the film "Dirty Harry" (1971, Don Siegel).
The clip will not, unfortunately, let me embed it, so:
http://www.youtube.com/watch?v=3zPyEVeGb80
Another scene in our sequence is of Harry walking through a busy office, as the camera follows him, pushing past the people. This is influenced by the film "Goodfellas" (1990, Martin Scorsese).
Our first scene of Harry throwing his police badge over his shoulder and walking away is inspired by the film "Dirty Harry" (1971, Don Siegel).
The clip will not, unfortunately, let me embed it, so:
http://www.youtube.com/watch?v=3zPyEVeGb80
Another scene in our sequence is of Harry walking through a busy office, as the camera follows him, pushing past the people. This is influenced by the film "Goodfellas" (1990, Martin Scorsese).
New genre
We have decided to create our film sequence using a new genre; we are no longer using the gangster/crime genre after changes to our storyline, instead now using a Thriller genre based approach.
The Thriller genre:
"Thrillers are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more-powerful and better-equipped villains. They often take place in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common."
-From Wikipedia
Thriller film conventions are the use of sound and editing: using quick, straight cuts, handheld cameras and interesting camera angles they are able to create a quick paced, heart-racing scene often seen in Thrillers. Music that gives tension is also used. Use of darkness and shadows in Thriller films is important too; using the darkness and the light to give the biggest impact to a scene, especially those involving the villain; dark, scary scenes.
The Thriller genre:
"Thrillers are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more-powerful and better-equipped villains. They often take place in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common."
-From Wikipedia
Thriller film conventions are the use of sound and editing: using quick, straight cuts, handheld cameras and interesting camera angles they are able to create a quick paced, heart-racing scene often seen in Thrillers. Music that gives tension is also used. Use of darkness and shadows in Thriller films is important too; using the darkness and the light to give the biggest impact to a scene, especially those involving the villain; dark, scary scenes.
Friday 9 October 2009
First draft of film synopsis
Harry Stewart is assigned the case of Nigel Flynn’s (Harry Stewart’s mentor) murder and, consequently, Flynn’s wife Lily’s kidnapping. This gets him into the previous case which is to do with a criminal drug baron. Harry believes he has to get Lily back as he feels he has a duty to Nigel’s memory.
Whilst investigating the murder through interviews and CCTV etc the forensics of the body come back. They don’t match with Nigel’s dental records. Harry orders second tests but these only confirm that the body isn’t Nigel’s. Shocked by the news and Nigel’s disappearance, Harry begins to investigate the possibility that both Nigel and Lily have been kidnapped.
Later a ransom note is dropped off at the station, stained with blood. Harry decides to trace the person who left it through CCTV. Following the person’s movements, he is led to a derelict building and he enters alone but armed. As soon as he enters he is shot at. He engages in a shoot-off with the attacker who he can’t indentify, so he tries to get closer. Eventually, he finds out that the attacker is Nigel, who reveals that him and his wife were never kidnapped. They instead just wanted the ransom money and then leave the country. Nigel shoots at Harry but misses, however when Harry returns fire, he kills Nigel. Harry stands over his dead mentor’s body as police sirens are heard in the background and a team of police enter the building.
Word count: 246
Whilst investigating the murder through interviews and CCTV etc the forensics of the body come back. They don’t match with Nigel’s dental records. Harry orders second tests but these only confirm that the body isn’t Nigel’s. Shocked by the news and Nigel’s disappearance, Harry begins to investigate the possibility that both Nigel and Lily have been kidnapped.
Later a ransom note is dropped off at the station, stained with blood. Harry decides to trace the person who left it through CCTV. Following the person’s movements, he is led to a derelict building and he enters alone but armed. As soon as he enters he is shot at. He engages in a shoot-off with the attacker who he can’t indentify, so he tries to get closer. Eventually, he finds out that the attacker is Nigel, who reveals that him and his wife were never kidnapped. They instead just wanted the ransom money and then leave the country. Nigel shoots at Harry but misses, however when Harry returns fire, he kills Nigel. Harry stands over his dead mentor’s body as police sirens are heard in the background and a team of police enter the building.
Word count: 246
Thursday 8 October 2009
Aims & Context
In my creative group we will be filming a short sequence from a film in the style of a gangster or crime genre film. It should appeal to a target audience of males, aged 16-30. The target audience will also have a social classification of E to A, from the unemployed to lawyers and doctors.
My aim during the filming will be to use my knowledge about cinematography from my FM1 studies to fully understand the codes and conventions of gangster/crime genre films. My group will be using a genre based approach to our film sequence, using the conventions of a gangster/crime film, and using elements from film noir and French new wave.
I will be the editor for the film sequence and will try to edit the sequence in the style of most gangster films, to keep within the genre based approach.
My aim during the filming will be to use my knowledge about cinematography from my FM1 studies to fully understand the codes and conventions of gangster/crime genre films. My group will be using a genre based approach to our film sequence, using the conventions of a gangster/crime film, and using elements from film noir and French new wave.
I will be the editor for the film sequence and will try to edit the sequence in the style of most gangster films, to keep within the genre based approach.
Genre Conventions
An essay about the genre, gangster/crime, chosen for my group's film sequence:
In my group’s creative project we will be filming a sequence from a gangster/crime genre film. To do this we will be using the usual gangster genre conventions or codes. These conventions help create expectations of the film for the audience, from the characters and the Mise-en-scène to the overall story and plot. The actual gangster/crime genre is very similar to the film noir genre as they share many of the same conventions.
The identity of the protagonist in gangster/crime genre films is important and unlike other genre films there is a clear choice that can completely change the story; having either a law abiding police officer for a protagonist or a criminal. Having, for example, a member of the police for a protagonist means the film has elements of an action genre; the film follows the protagonist as they try to catch or kill the criminal usually for personal motives, i.e. revenge. However, having a criminal for a protagonist is almost unconventional in its self. They usually face an antagonist of another criminal or even a police officer. This means that the formula used for action, adventure, sci-fi and even horror films has been turned on its head; the usual ‘hero’, the police or crime fighting hero, is now the antagonist, someone the audience shouldn’t like as they oppose the protagonist. Because the protagonist is a criminal the audience are treated to a new perspective in a film. Gangster films almost always glorify criminals and gangsters and what they do. The characters are given new dimensions and depths that most antagonist criminals in action films aren’t: deep back stories on how and why they grew to be a criminal.
Another convention of gangster/crime genre films is their use of location, something very similar to that of film noir. One of the most recognisable conventions of gangster films is the use of ‘underground’ locations, maybe a nightclub or a small alleyway. To emphasise these locations as dark, dangerous places the use of light and dark is important; casting dark shadows around the gangster and using very little light makes them seem more dangerous.
A further convention of the gangster/crime genre is the use of music and sound throughout the film. A feature also common to film noir is the use of voice-overs throughout some gangster films. This voice-over grants us the right to hear the protagonist’s inner thoughts and motives, and adds a personal touch to the film. This is especially useful in a gangster/crime genre film as it means the audience can become closer to the criminal protagonist and understand them a little more. This means they can relate to them and even care about what happens to them, meaning they care for the antagonist, the police, less. The music used in a gangster film is also important; dark, unsettling music adds to the dark atmosphere and gives the film another dimension. It helps create the suspense needed in some of the film’s most dramatic scenes and moments.
An additional convention needed for gangster/crime genre films is the use of Mise-en-scène. Props and costumes are vital to these films; gangster films need props, especially guns. A gangster/crime film without the use of prop guns seems strange and an unexpected, especially to the audience who have certain expectations of gangster films, guns one of them. Costumes are also significant because, like any other film, they define the characters, protagonist and antagonist. Giving the criminals and gangsters dark, black imposing suits gives them a sense of unity and seriousness. It also makes them appear very impressive and dangerous, something a criminal protagonist needs.
In our creative project, we will use these conventions of the gangster or crime genre film to create our sequence. This way it will be recognisable as a gangster film, and create certain expectations and feelings in the audience that gangster/crime films do.
In my group’s creative project we will be filming a sequence from a gangster/crime genre film. To do this we will be using the usual gangster genre conventions or codes. These conventions help create expectations of the film for the audience, from the characters and the Mise-en-scène to the overall story and plot. The actual gangster/crime genre is very similar to the film noir genre as they share many of the same conventions.
The identity of the protagonist in gangster/crime genre films is important and unlike other genre films there is a clear choice that can completely change the story; having either a law abiding police officer for a protagonist or a criminal. Having, for example, a member of the police for a protagonist means the film has elements of an action genre; the film follows the protagonist as they try to catch or kill the criminal usually for personal motives, i.e. revenge. However, having a criminal for a protagonist is almost unconventional in its self. They usually face an antagonist of another criminal or even a police officer. This means that the formula used for action, adventure, sci-fi and even horror films has been turned on its head; the usual ‘hero’, the police or crime fighting hero, is now the antagonist, someone the audience shouldn’t like as they oppose the protagonist. Because the protagonist is a criminal the audience are treated to a new perspective in a film. Gangster films almost always glorify criminals and gangsters and what they do. The characters are given new dimensions and depths that most antagonist criminals in action films aren’t: deep back stories on how and why they grew to be a criminal.
Another convention of gangster/crime genre films is their use of location, something very similar to that of film noir. One of the most recognisable conventions of gangster films is the use of ‘underground’ locations, maybe a nightclub or a small alleyway. To emphasise these locations as dark, dangerous places the use of light and dark is important; casting dark shadows around the gangster and using very little light makes them seem more dangerous.
A further convention of the gangster/crime genre is the use of music and sound throughout the film. A feature also common to film noir is the use of voice-overs throughout some gangster films. This voice-over grants us the right to hear the protagonist’s inner thoughts and motives, and adds a personal touch to the film. This is especially useful in a gangster/crime genre film as it means the audience can become closer to the criminal protagonist and understand them a little more. This means they can relate to them and even care about what happens to them, meaning they care for the antagonist, the police, less. The music used in a gangster film is also important; dark, unsettling music adds to the dark atmosphere and gives the film another dimension. It helps create the suspense needed in some of the film’s most dramatic scenes and moments.
An additional convention needed for gangster/crime genre films is the use of Mise-en-scène. Props and costumes are vital to these films; gangster films need props, especially guns. A gangster/crime film without the use of prop guns seems strange and an unexpected, especially to the audience who have certain expectations of gangster films, guns one of them. Costumes are also significant because, like any other film, they define the characters, protagonist and antagonist. Giving the criminals and gangsters dark, black imposing suits gives them a sense of unity and seriousness. It also makes them appear very impressive and dangerous, something a criminal protagonist needs.
In our creative project, we will use these conventions of the gangster or crime genre film to create our sequence. This way it will be recognisable as a gangster film, and create certain expectations and feelings in the audience that gangster/crime films do.
Group
In my group we will produce a film sequence based on a gangster or crime genre.
Director: Josie Robinson
Cinematographer: Sophie Thompson
Editor: Me, Kate Mulligan
Editor: The editor is responsible for cutting together the shot footage, and making sense of the story according to the director's vision. The editor perhaps has the most opportunity to experiment, and can often produce work which strays from the original intention, but which is far superior to that originally discussed. It is an absolute necessity (due to the duration of post-production) that the editor is completely familiar with the editing system that is being used; otherwise there can be significant delay, and more importantly the potential for failure.
- from Film Studies A2, The Essential Introduction.
Director: Josie Robinson
Cinematographer: Sophie Thompson
Editor: Me, Kate Mulligan
Editor: The editor is responsible for cutting together the shot footage, and making sense of the story according to the director's vision. The editor perhaps has the most opportunity to experiment, and can often produce work which strays from the original intention, but which is far superior to that originally discussed. It is an absolute necessity (due to the duration of post-production) that the editor is completely familiar with the editing system that is being used; otherwise there can be significant delay, and more importantly the potential for failure.
- from Film Studies A2, The Essential Introduction.
Subscribe to:
Posts (Atom)