Reflective Analysis: Storyboard of A Life In Death
My storyboard was designed for a target demographic of 14-25 year olds as my film is a historic adventure-drama and this age range is appropriate for the films content and what certificate I deem it to fit into.
I titled my film A Life In Death as this is a connotation that references what happens within the film and its story as the title character within my film dies at the end of the movie, but as this occurs the constant struggle with underlying problems, more notably infidelity is solved at conclusion of my piece. The basis of my character is upon myself but also upon a person frequently seen within the age group he is apart of and this is another reason why the film is targeting a teenager demographic and I feel a relationship can be made between the story and the audience thus giving the film more meaning and relevant to its audience. The key micro focus of my storyboard was both camera angles and editing, with small doses of sound work.
The conventions I chose to try and follow where those of modern films and of the Director Wes Anderson, using and channelling similar camera angles and shots of those used in such movies as ‘The Royal Tenenbaums’ and ‘Rushmore’ as well as maintaining a narrative of family, family that although struggling through events out of their control, still keeping an essence of correct morals and of an overcoming of adversities that can unfortunately arose. The colours I chose for my story where vivid, vibrant and clear in attempt to convey juxtaposition to some of the murky situations that were emerging and coming apparent.
I attempted to use a variety of camera shots and editing in trying to convey different means and emotions; within my film there were making extreme close ups of the main characters face, I did this to show the feelings of my character at almost a painstakingly close level, I felt this to be of good strategy as the movie is very character based and although not resolved in a happy ending, it being allowed to be carried through the relationship between the characters and the kind of things they shared. Another use of the Close Up that I used was within activities between the character and his hands coinciding with the note, a note that explains what is to come and also within the resolution of the film as the character is knocked over whilst conversing with this prop.
Another thing I used was the use of High Angle and Low Angle shots, a High Angle shot showing the street being vulnerable from the weather conditions e.g. the snow and this that quickly changing to Low Angle shot of the car showing it as being dominate, although these shots are seen as being an antithesis, I used them in conjunction with one another to form the progression of the scene as the weather effects the conditions of the surroundings and thus having an effect on the cars ability to stop which subsequently is resultant in Frank’s death.
I used a variety of different shots such as over the shoulder and mediums shots to make the sequence more interesting, but whilst doing this keeping the consistency of the film and where the story was going. I also used a point of view shot to show Frank lying prone through this own eyes, I strategically used this only at the conclusion of the film to finally symbolism a direct connection to the character and to finally see the proceedings from his direct thought.
Another thing I focused on was the editing of scenes together, whilst using cuts I also tried to have transitions between characters and there surroundings by using tracking both in and out to have the events within the scene to run more smoothly, this was symbolic to prior events as the movie was full of turbulent situations and as it ran into its poignant culmination, I am trying to convey that although the means of the scene maybe unnatural that this ending involved the least traumatic although it was the scene in which my character died.
I did use much diegetic sound through the characters narrative on the phone, as well as the sound of the encroaching car, but I also used non-diegetic sound within the soundtrack placed into the final sequence. In one area I also specified that there be no sound as the car hit Frank as I felt the sound of silence added effect to the affecting progressing of the scene, as well as intending it to keep the scene understated and euphemising the impact of what is occurring.
I showed the storyboard of my film to my teacher and class who were of the targeted demographic and all understood what had happened within the scene although there was much diversity in angles and editing and therefore felt that these elements were used to the correct effect to tell the story which also containing much underlying connotation.
Thursday, 21 January 2010
Royal Tenebaums Analysis
In this essay I will explain how director Wes Anderson conveys a story through how he directs in the movie ‘The Royal Tenenbaums’. I will be concentrating on Andersons’ use of camera angles, editing and sound in the wedding scene between Henry Sherman (Danny Glover) and Etheline Tenenbaum (Angelica Huston) and how this creates a meaning.
My scene is between the elapsed time of 1 hour: 26 minutes: 44 seconds to 1 hour: 33 minutes: 28 seconds with the scene lasting a total of 4 minutes and 47 seconds.
The scene starts with a close up of a wedding invitation of the marriage of Henry Sherman and Etheline Tenenbaum; this is to show where the film is within its story and what the scene that follows is about.
This shot then cuts to a medium close up of the wedding band to continue setting the scene; this then cuts to an establishing shot of the guests outside the Tenenbaum house and tracks down vertically to a car with the arrival of Royal Tenenbaum (Gene Hackman) in a medium shot.
This scene conveys how Royal was an outsider within this own family but is now arriving/re-arriving back into the fray and how the film has been about his efforts to be back part of the family.
A cut to a close up shot of the groom then follows with him doing his tie to show the preparation of the wedding is still going on; this then cuts to a medium close up of his bride and her daughter Margot (Gwyneth Paltrow) also still getting ready.
Anderson has these cuts to show the progression of proceedings for both parties and to show the differences in relationships the characters experience, with Henry’s son helping him do his tie whereas Etheline has her back to Margot who is looking out of the window disinterested.
This showing how Henry has been an integral part of his family and showing how a father figure had affected his sons life, thus Anderson is juxtaposing the Tenenbaum family to show this meaning to full effect and to reinforce the back story of the family being brought up with Etheline being the single parent and Royal absconded.
There is then another cut to a medium close up of the two boys Ari and Uzi to show each character, this is then followed in succession by a cut to a medium close of Gene Hackman talking to the vicar; these characters being in close proximity to one another as these three characters are to be pivotal in the progression of the sequence, and this is why Anderson has chosen to group the characters together within a series of shots.
A forward track then follows to a close up of Gene Hackmans character as he hears a loud engine, this being Owen Wilson’s character Eli Cash being brought into the fray with a cut to a long shot of his car racing down the street, this shot being used to show the car in comparison to its surroundings and rather than give detail, it gives a general impression that something is about to happen. This is to show Hackman and Wilson will then be involved within the culminating scene and Anderson does this by showing all parties that are to become involved.
A close up follows to shot Cash’ out of control and about to have an effect on proceedings; this being furthered by Anderson using a high angle shot of the car to show he is heading towards the house, this shot is used to show the object being swallowed by the setting and giving a sense of powerlessness in prevention of what is yet to happen. A cut to a medium close up is then used showing Eli as out of control and unable to stop, just as the prior camera angle conveyed; this then cuts to a bin in which the car crashes into.
Another cut to a medium close up of Etheline is then used with a shake of the camera to show the impact of the car, this is a handheld camera which then pans lefts and follows Margot to survey the damage the car has caused, Anderson does this to show that these characters have been effected by what has gone on but are yet to know what has happened thus having them show a general interest. A high angle shot is then used to show the car as vulnerable and powerless now that is has crashed furthering the notion that Cash is out of control and it has all come to a head within this scene; then there is a close up of Chas Tenenbaum (Ben Stiller)’s character being followed by yet more hand held camera, which is used to show the realism of the piece and alludes to the use of this sort of camera being used in reference to the French new wave revival by Michel Brault in the 1960s to create a ‘fly on the wall’ style documentary, such as the one Wes Anderson creates with the Tenenbaum family and the issues they experience throughout the film through the wedding scene; this close up to show Chas’ feelings and also to show that Stiller’s character is to be vital to the forthcoming scenes as the events involve his children.
This shot is then followed by a medium shot of the wedding band tracking right to a low angle shot of Eli Cash, the instigator of destruction still lying vunerable and out of control sitting on the floor.
There is then another close up of Chas Tenenbaum being followed by more handheld camera to check on the well being of his sons to convey the emotions he is feeling.
Another low angle shot of Eli is shown, showing him as being dominate and the source of all trouble caused.
A cut to a medium shot facing out to the hallway is then used to show Eli running away from Chas who is then followed by more hand held camera work to a cut to a medium close up of the vicar walking up the stairs who is then subsequently pushed down them; a cut to a medium shot is then formed to yet more handheld camera work for a longer take to heighten the sense of realism and Cinéma vérité, a style of documentary filmmaking to provoke its subjects.
This scene is used to show the consequence of the prior scenes.
A cut to a close up of Richie Tenenbaum (Luke Wilson) is then used to break up the action and only then cuts back to ending of the fight between Chas and Eli; then there is a cut to a medium close up of the two who have fought which then tracks backwards to another cut to a medium cut up of the characters lying side by side, this being used to convey the sense of them being equal within their situation and although both characters are polar opposites they are juxtaposed to show that both are in need of help; this angle then tracks up to Henry’s sons surveying the damage.
An establishing shot is then shown to highlight the aftermath of the incident, and then cuts to a close up of both Royal and Henry being tracked by the camera whilst talking, this is to further the sense that Anderson is bringing together the opposing characters in the wake of destruction, with Eli being the nomad to Chas’ overbearing persona and Henry being stablity to the Tenenbaum family whilst Royal has been away for 22 years.
The tracking then stops at a door and holds a medium shot for Henry and Royal in the final bit of my sequence.
The sound within the film is used to follow what is happening in the story.
It is used in three sections, the wedding band playing music at the start to show the tranquility of the setting at the wedding, then when Eli is being chased by Chas for hitting the house with his car.
This music being fast paced like the action where there is running and fighting and only stops once the action is over.
The third piece of music is used when Royal and Henry are running down the street to finish the sequence, this music is slower and shows how the action and excitement of the wedding day has drawn to a close.
My scene is between the elapsed time of 1 hour: 26 minutes: 44 seconds to 1 hour: 33 minutes: 28 seconds with the scene lasting a total of 4 minutes and 47 seconds.
The scene starts with a close up of a wedding invitation of the marriage of Henry Sherman and Etheline Tenenbaum; this is to show where the film is within its story and what the scene that follows is about.
This shot then cuts to a medium close up of the wedding band to continue setting the scene; this then cuts to an establishing shot of the guests outside the Tenenbaum house and tracks down vertically to a car with the arrival of Royal Tenenbaum (Gene Hackman) in a medium shot.
This scene conveys how Royal was an outsider within this own family but is now arriving/re-arriving back into the fray and how the film has been about his efforts to be back part of the family.
A cut to a close up shot of the groom then follows with him doing his tie to show the preparation of the wedding is still going on; this then cuts to a medium close up of his bride and her daughter Margot (Gwyneth Paltrow) also still getting ready.
Anderson has these cuts to show the progression of proceedings for both parties and to show the differences in relationships the characters experience, with Henry’s son helping him do his tie whereas Etheline has her back to Margot who is looking out of the window disinterested.
This showing how Henry has been an integral part of his family and showing how a father figure had affected his sons life, thus Anderson is juxtaposing the Tenenbaum family to show this meaning to full effect and to reinforce the back story of the family being brought up with Etheline being the single parent and Royal absconded.
There is then another cut to a medium close up of the two boys Ari and Uzi to show each character, this is then followed in succession by a cut to a medium close of Gene Hackman talking to the vicar; these characters being in close proximity to one another as these three characters are to be pivotal in the progression of the sequence, and this is why Anderson has chosen to group the characters together within a series of shots.
A forward track then follows to a close up of Gene Hackmans character as he hears a loud engine, this being Owen Wilson’s character Eli Cash being brought into the fray with a cut to a long shot of his car racing down the street, this shot being used to show the car in comparison to its surroundings and rather than give detail, it gives a general impression that something is about to happen. This is to show Hackman and Wilson will then be involved within the culminating scene and Anderson does this by showing all parties that are to become involved.
A close up follows to shot Cash’ out of control and about to have an effect on proceedings; this being furthered by Anderson using a high angle shot of the car to show he is heading towards the house, this shot is used to show the object being swallowed by the setting and giving a sense of powerlessness in prevention of what is yet to happen. A cut to a medium close up is then used showing Eli as out of control and unable to stop, just as the prior camera angle conveyed; this then cuts to a bin in which the car crashes into.
Another cut to a medium close up of Etheline is then used with a shake of the camera to show the impact of the car, this is a handheld camera which then pans lefts and follows Margot to survey the damage the car has caused, Anderson does this to show that these characters have been effected by what has gone on but are yet to know what has happened thus having them show a general interest. A high angle shot is then used to show the car as vulnerable and powerless now that is has crashed furthering the notion that Cash is out of control and it has all come to a head within this scene; then there is a close up of Chas Tenenbaum (Ben Stiller)’s character being followed by yet more hand held camera, which is used to show the realism of the piece and alludes to the use of this sort of camera being used in reference to the French new wave revival by Michel Brault in the 1960s to create a ‘fly on the wall’ style documentary, such as the one Wes Anderson creates with the Tenenbaum family and the issues they experience throughout the film through the wedding scene; this close up to show Chas’ feelings and also to show that Stiller’s character is to be vital to the forthcoming scenes as the events involve his children.
This shot is then followed by a medium shot of the wedding band tracking right to a low angle shot of Eli Cash, the instigator of destruction still lying vunerable and out of control sitting on the floor.
There is then another close up of Chas Tenenbaum being followed by more handheld camera to check on the well being of his sons to convey the emotions he is feeling.
Another low angle shot of Eli is shown, showing him as being dominate and the source of all trouble caused.
A cut to a medium shot facing out to the hallway is then used to show Eli running away from Chas who is then followed by more hand held camera work to a cut to a medium close up of the vicar walking up the stairs who is then subsequently pushed down them; a cut to a medium shot is then formed to yet more handheld camera work for a longer take to heighten the sense of realism and Cinéma vérité, a style of documentary filmmaking to provoke its subjects.
This scene is used to show the consequence of the prior scenes.
A cut to a close up of Richie Tenenbaum (Luke Wilson) is then used to break up the action and only then cuts back to ending of the fight between Chas and Eli; then there is a cut to a medium close up of the two who have fought which then tracks backwards to another cut to a medium cut up of the characters lying side by side, this being used to convey the sense of them being equal within their situation and although both characters are polar opposites they are juxtaposed to show that both are in need of help; this angle then tracks up to Henry’s sons surveying the damage.
An establishing shot is then shown to highlight the aftermath of the incident, and then cuts to a close up of both Royal and Henry being tracked by the camera whilst talking, this is to further the sense that Anderson is bringing together the opposing characters in the wake of destruction, with Eli being the nomad to Chas’ overbearing persona and Henry being stablity to the Tenenbaum family whilst Royal has been away for 22 years.
The tracking then stops at a door and holds a medium shot for Henry and Royal in the final bit of my sequence.
The sound within the film is used to follow what is happening in the story.
It is used in three sections, the wedding band playing music at the start to show the tranquility of the setting at the wedding, then when Eli is being chased by Chas for hitting the house with his car.
This music being fast paced like the action where there is running and fighting and only stops once the action is over.
The third piece of music is used when Royal and Henry are running down the street to finish the sequence, this music is slower and shows how the action and excitement of the wedding day has drawn to a close.
Tuesday, 17 November 2009
A Life In Death
A boy suffering from depression (Frank Moretti) dies before his time making sense of an item with cannot be seen at the start of the movie.
As Frank has an untimely death he wakes up in a place where it is snowing, this place later explained as his mother (Nancy Moretti)’s favourite place in Germany, the country in which she was fostered; in this place Frank is given the opportunity to return to any decade of his choice, however this chance would come with a price leaving his destiny to be decided at a later date; although he is ‘seemingly’ unable to age.
Before his story unravels we are hold that Frank has no related family only a deceased grandfather and family that has never been spoken about, Frank also has a childhood sweetheart who has grown disheartened under his current mental state.
Upon the information that his granddad died in the war, Frank decides to return to 1938 in order to save his grandfather from his death in the hope the explanation he is given of his family will allow him a deeper understanding of his families woes, his mothers infidelity that has driven him to depression, herself to living as a recluse and his father to drink.
Frank returns to 1938 and lies about his age as he is only a 16 year old boy to enlist in the army; for the first few years he has no luck in tracing down his family but continues his duty in this hope yet is captured by the German fleet, a rescue effort is made by a team led by Ernest King, Frank’s grandfather who also becomes a prisoner of war after the failure of this mission; within this time both strike up a friendship and Ernest is surprised to find out how much Frank knows and slowly comes round to the idea they are related.
Upon this revelation Ernest reveals that he has somebody waiting for him when the he comes out of the army, Nancy, Nancy Moretti an American nurse of whom he met when she treated his brother who sadly passed away within an Army hospital. Ernest reveals he had got Nancy pregnant, out of wedlock and that she had quit the hospital and both planned to elope when Ernest was next home from the warfare so he could ‘make an honest woman of her’, he however gets shot protecting Frank from enemy fire but makes his grandson promise to find his love for him, after this happens Frank has aged and struggles to remember certain things he has experienced.
Frank vows to continue fighting until the wars end in 1945 in memory of his fallen grandfather.
Frank however cannot find his grandmother until the start of the 50s in a chance meeting in a hotel in America due to snow causing a blizzard leading him to seek shelter in a hotel, one where Nancy is working, Frank being in America searching for Nancy’s family after no other leads.
Frank tells Nancy all about Ernest and the child she has of whom he meets but after he does this, realises he is looking older and is struggling to remember some of the things he and Ernest had spoken about.
Nancy tells Frank that she had become anti-war since being informed of Ernest’s death and how she supports President James Turner’s approval of appeasement, before Frank thinks about his memory loss he remembers the assassination of Turner in 1954 and thus informs his grandmother of his event.
Nancy tells of how she has to return to work in order not to create any suspicions, but she arranges to meet Frank in December and entrusts him with a necklace, a family air loom; upon the snowy day in December Nancy sees the police and runs away, she then however goes on to foil the attempted murder of President James Turner and they marry although in order for his reign to continue suffers the heartbreaking decision to give up her child.
In the 1960s Frank lives through the hippie lifestyle and tells stories to those he meets which ages him and leads him to struggle in retaining basic information about himself which leads to a brief stint in prison as he does not comply with the police and leads in the 70s which pass by as a reckless Frank dabbles in all vices.
At the start of the 80s Franks sees a small girl lose her mother and decides to look for his own, he witnesses many major events throughout the 80s until he sees his mother on television at the fall of the Berlin Wall, as he finds her he discovers how his mother was fostered to a German family split by the wall and tells her all about her family giving her the necklace from her birth mother, this leads to a substantial aging of him and a lot of memory loss.
His father then comes into the fray when he sees Nancy’s military necklace, the air loom given by Frank although the couple struggle to have children and Frank sees his as his fault.
Frank then starts to write memoirs to explain in journey in order to dedicate to his family as the aging process takes its toll on him, he then reaches the day the died and he is old and losing his mind; he tells his childhood sweetheart to read what he as written in order to explain what is happening, Frank feels as if he is going; she does not understand and cannot cope.
Frank then feels unwell and his life is flashed through his mind as he returns to the present day; he then receives an urgent phone call from his mother telling him to return home, the date is the 25th of December.
As he is walking through the street and the snow is falling a note falls from the sky telling him ‘Today life is lived’ the same note he received in his first passing, whilst reading this he is struck by a car and is left lying in the street clutching the necklace in his hand.
The news his mother was to tell him was that she had fallen pregnant.
As Frank has an untimely death he wakes up in a place where it is snowing, this place later explained as his mother (Nancy Moretti)’s favourite place in Germany, the country in which she was fostered; in this place Frank is given the opportunity to return to any decade of his choice, however this chance would come with a price leaving his destiny to be decided at a later date; although he is ‘seemingly’ unable to age.
Before his story unravels we are hold that Frank has no related family only a deceased grandfather and family that has never been spoken about, Frank also has a childhood sweetheart who has grown disheartened under his current mental state.
Upon the information that his granddad died in the war, Frank decides to return to 1938 in order to save his grandfather from his death in the hope the explanation he is given of his family will allow him a deeper understanding of his families woes, his mothers infidelity that has driven him to depression, herself to living as a recluse and his father to drink.
Frank returns to 1938 and lies about his age as he is only a 16 year old boy to enlist in the army; for the first few years he has no luck in tracing down his family but continues his duty in this hope yet is captured by the German fleet, a rescue effort is made by a team led by Ernest King, Frank’s grandfather who also becomes a prisoner of war after the failure of this mission; within this time both strike up a friendship and Ernest is surprised to find out how much Frank knows and slowly comes round to the idea they are related.
Upon this revelation Ernest reveals that he has somebody waiting for him when the he comes out of the army, Nancy, Nancy Moretti an American nurse of whom he met when she treated his brother who sadly passed away within an Army hospital. Ernest reveals he had got Nancy pregnant, out of wedlock and that she had quit the hospital and both planned to elope when Ernest was next home from the warfare so he could ‘make an honest woman of her’, he however gets shot protecting Frank from enemy fire but makes his grandson promise to find his love for him, after this happens Frank has aged and struggles to remember certain things he has experienced.
Frank vows to continue fighting until the wars end in 1945 in memory of his fallen grandfather.
Frank however cannot find his grandmother until the start of the 50s in a chance meeting in a hotel in America due to snow causing a blizzard leading him to seek shelter in a hotel, one where Nancy is working, Frank being in America searching for Nancy’s family after no other leads.
Frank tells Nancy all about Ernest and the child she has of whom he meets but after he does this, realises he is looking older and is struggling to remember some of the things he and Ernest had spoken about.
Nancy tells Frank that she had become anti-war since being informed of Ernest’s death and how she supports President James Turner’s approval of appeasement, before Frank thinks about his memory loss he remembers the assassination of Turner in 1954 and thus informs his grandmother of his event.
Nancy tells of how she has to return to work in order not to create any suspicions, but she arranges to meet Frank in December and entrusts him with a necklace, a family air loom; upon the snowy day in December Nancy sees the police and runs away, she then however goes on to foil the attempted murder of President James Turner and they marry although in order for his reign to continue suffers the heartbreaking decision to give up her child.
In the 1960s Frank lives through the hippie lifestyle and tells stories to those he meets which ages him and leads him to struggle in retaining basic information about himself which leads to a brief stint in prison as he does not comply with the police and leads in the 70s which pass by as a reckless Frank dabbles in all vices.
At the start of the 80s Franks sees a small girl lose her mother and decides to look for his own, he witnesses many major events throughout the 80s until he sees his mother on television at the fall of the Berlin Wall, as he finds her he discovers how his mother was fostered to a German family split by the wall and tells her all about her family giving her the necklace from her birth mother, this leads to a substantial aging of him and a lot of memory loss.
His father then comes into the fray when he sees Nancy’s military necklace, the air loom given by Frank although the couple struggle to have children and Frank sees his as his fault.
Frank then starts to write memoirs to explain in journey in order to dedicate to his family as the aging process takes its toll on him, he then reaches the day the died and he is old and losing his mind; he tells his childhood sweetheart to read what he as written in order to explain what is happening, Frank feels as if he is going; she does not understand and cannot cope.
Frank then feels unwell and his life is flashed through his mind as he returns to the present day; he then receives an urgent phone call from his mother telling him to return home, the date is the 25th of December.
As he is walking through the street and the snow is falling a note falls from the sky telling him ‘Today life is lived’ the same note he received in his first passing, whilst reading this he is struck by a car and is left lying in the street clutching the necklace in his hand.
The news his mother was to tell him was that she had fallen pregnant.
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