MAJOR PROJECT: SOUNDTRACK AND SOUND DESIGN

Importance of a film's music

Leitmotif

The Leitmotif can be a powerful tool for a films score. It is music that adds a sense of continuity and development to characters, places and ideas (GCSE Bitesize - Film music leitmotif definition).  An incentive for me to use a composer in my film is because of the way they can be so effective in developing and aiding a story. There aren't many better examples of the use of leitmotif's than by Howard Shore in 'The Lord of the Rings' trilogy (2001-2003). The video below very helpfully helps realise the strength of this.


From Youtube channel 'Nerdwriter1' making commentaries about Howard Shore's score.


The possible argument against using the leitmotif composer technique would be the short length of my film in comparison to for example 'The Lord of the Rings' trilogy.

The film soundtrack is an important choice for me to make regarding my film. Whether I use a score to help further the story which is a proven effective technique. Or if I choose to dispense with music altogether having faith in my ability to create effective sound design and the ability of my actors. 

Here is another video which looks at examples of how scores can be effective:


From 'Now you see it' a 'Patreon' backed channel on Youtube.

Film Composers to explore in relation to the style I wish to achieve from my film:

Johann Johannsson:

Icelandic composer who has worked on three films directed by Denis Villeneuve Prisoners (2013), Sicario (2015) and Arrival (2016). His scores have the ability to send chills down your spine adding another layer to the suspense of the films. Contemporary music using classical instruments and elements of electronic music, he can be described as minimalist and this is something I would like to look for in a score.



Bernard Herrmann:

His work on 'Psycho' (1960) is some of the most recognisable and most chilling suspenseful music in film as well as Hitchcock's films 'Vertigo' (1958), 'The man who knew too much' (1956) and 'North by NorthWest' (1959). Also his work on 'Taxi Driver' (1976) which has an underlying theme that runs throughout the film giving you a tense feeling throughout. 

His work on the Hitchcock films is memorable and right there and integral to how each film works. If I were to go down a route of this nature I would have to consider how each piece of music would develop the story and help further it emotionally. The style of score Hermann put together on Hitchcock's films in particular suited the suspense thriller nature, whether my film is to go down this route is to be determined by how the next couple drafts develop. 

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For my film my immediate thought is the realism could be a case for keeping the music minimal or even excluding music altogether, like in this video below about Martin Scorsese:


From a Video by Tony Zhou creator of the channel 'Every frame a painting'.

'No country for old men' (2007) uses very little music throughout, but still manages to create an effective terrifying villain played by Javier Bardem. I one particular scene he strangles a man to death. There is no music playing just the sounds of the poor man struggling and struggling and struggling as he is slowly killed by the merciless killer. 


The scene demonstrates who the character is and his lack of empathy towards taking someones life. What stands out to me is the small amount of dialogue the key moment for me is the end where he takes his deep breaths whilst still lying under the other mans body. This is in stark contrast to some hollywood films which would have given the character a quip to say. This scene purposefully does the opposite to unsettle the viewer and further demonstrate this characters potential for evil.

MAJOR PROJECT: SCRIPT RESEARCH

Reading film scripts

Locke

Tom Hardy in 'Locke' (2013)

2013 film 'Locke' Written and Directed by Steven Knight was nominated for many awards throughout film festivals across the world. Steven Knight the writer produced an enthralling and profound piece of work with only the use of an actor sitting in a car talking to people on the phone. I decided I would read the script having already watched the film, to see what I could take from it in relation to my story which has similarities with my main character talking to an unseen radio host. 

The script manages to drag on a journey up and down as Ivan Locke's life plummets to rock bottom losing his job, family, and home. All because of one mistake he made. The story is grounded in reality and is possibly something people can relate to. It manages to pull at heart strings and anger you and question why this man would go through hell and back to help a woman he had a one night stand with. 

The script is well written and something I have already taken inspiration from with its slick style and ability to tell a story. It also makes you notice things you may not have necessarily notices whilst watching the film, like his conscience played by his wing mirror always checking to see if he's doing the right thing.

Tom Hardy catching a glimpse of his conscience in 'Locke' (2013)

All is Lost

Another 2013 film 'All is Lost' written and directed by J.C. Chandor is a film set entirely at sea with a man and his boat. As there is only one character their is very little dialogue so it is interesting to read the script. Interestingly it is only 31 pages long despite its eventual 1hr 46mins runtime. Which says to me about my own script that their is licence with action to take a breath and explore the characters through the camera rather than stick to the exact length of the pages. 

Despite its small page number the dialogue is snappy and frantic dragging you the viewer down with OUR MAN as Chandor calls him (played by Robert Redford). As I have been striving for less dialogue in my film this script has given me an insight into how I might achieve that.  

Robert Redford in 'All is Lost' (2013)

MAJOR PROJECT: SUSPENSE

As I develop my script a clearer and clearer vision begins to appear of how I want the film to look and feel. This is largely inspired by directors who I admire and follow with interest, but also directors who relate to the style of story I want to tell.  

Denis Villeneuve

Villeneuve is a fairly new director on the scene having really come to prominence in the past 5 years. His most well known films are 'Prisoners' (2013, starring Hugh Jackman, Jake Gyllenhaal), 'Sicario' (2015, starring Emily Blunt) and released this week 'Arrival' (2016, starring Amy Adams). 

I watched Arrival this past week, the film depicts an unexplained alien arrival to earth. The protagonist Amy Adams who plays a renowned linguist has to try and communicate with the aliens to see what it is they want. With a looming military presence looking over her shoulder she must find a way to calm the situation and prevent any violence.

 The story can be related very easily to a clash of cultures in our world. The aliens can be a very effective metaphor for immigrants, who by very definition can be called aliens in a foreign land.

Amy Adams in 'Arrival' (2016)

The main thing that inspires me about Villeneuve is the way he creates suspense in his film. Which I see as an important aspect to making my film effective, I have to make sure there is that tension inspired by what Villeneuve does. The viewers have to realise the severity of the situation if the driver of my lorry or the two immigrant brothers get caught by the police. 

His previous film 'Sicario' (2015) was Oscar nominated in large part due to Villeneuve's directing ability. The scene perhaps most memorable in the film takes place at the border between Mexico and the US. Emily' Blunt's character is a part of a sting team that is returning from Mexico, they are stuck in Gridlock on the border and as they edge forward there is a looming threat of violence from gang members. 



Mark Kermode renowned film critic for The Observer, Sight & Sound and Kermode & Mayo's Film review describes this scene as 'One of the tensest traffic jams I have seen' (Mark Kermode, on Kermode & Mayo's film review). I would agree, Villeneuve takes what could be one of the most mundane daily activities for most people and makes into an utterly riveting 4 minutes of pure cinema.

However after watching a video from US based Youtube channel 'Cinefix', I realised how important the entire 40 minutes leading up to this point have been in creating tension. The film stays on its theme and doesn't brake it building up with a few payoffs, from the start all the way through to the end.

Exploring suspense in film

When it comes to suspense in films the first name that pops into my head and doubtless many others heads is Alfred Hitchcock. Sometimes called 'The Master of Suspense' Hitchcock was renowned for creating suspense in his films throughout is esteemed career.  

One scene from Hitchcock that stands out in the memory is from his 1959 thriller 'North by NorthWest'. The scene in question involves the protagonist Roger Thornhill played by Cary Grant being dropped off on a road surrounded by nothing but barren fields. As he waits the tension builds from nothing as a crop duster can be heard in the distance and the occasional car drives past. The payoff is when Thornhill gets chased down by the crop duster, but that doesn't happen until well after he is dropped off.



The crop duster scene immediately follows the end of the above video ending in an exploded fuel tank lorry.

Cary Grant in 'North by NorthWest' (1959)

This scene is one of many and you could say the whole film is filled with tension leading up to its Mount Rushmore climax. A film of his which keeps you on your toes throughout is 'Rear Window' (1954). When I watched the film I was never quite sure which way things were going as the protagonist sat helpless in his wheel chair. It is a film that uses suspense as a tool throughout to make the viewer uneasy and really feel a part the film.

The above films and directors all aid to inspire my project further stylistically and thematically. But especially for my third act the world suspense will be a word to keep in mind during filming as well as the editing process.  

MAJOR PROJECT: THE VALUE OF SILENCE

This is something that has been drilled in since the beginning of the course the phrase 'Show not tell' but it is important to remember these principles and try and write my characters in the way that suits on screen moving picture rather radio, photographs or stage play. In a short video from a fairly recent Youtube channel I saw the importance of moving picture and the way we can exclusively tell stories through this medium in a different way to others.

I was inspired by watching a documentary from BBC One about 'Aardman Animations' the stop-motion animation company. They have been producing films and television made from stop motion animation since 1972. Everything from 'Morph' in the 1970's, 'Wallace & Gromit', 'Chicken Run' (2000), 'Flushed Away' (first computer generated) up to 'Shaun the Sheep Movie' (2015). The company founded by Peter Lord and David Sproxton has been a master at creating characters from just pieces of clay, many of them not saying a word. Nick Park is the creator most well known for his creation of Wallace & Gromit and Shaun the Sheep and he is a key person in the companies history.

This is what I found amazing is that they have a number of characters who don't say a word in any of their shows of films. Most famously perhaps is Gromit of 'Wallace & Gromit' who never says a word, but has still become one of the most famous animated characters of all time. The documentary I watched is called 'A Grand Night in: The story of Aardman' which chronicles the story of the company from its humble beginnings as two guys moulding a piece of clay that was a segment on another television show, to their latest film 'Early Man' set for release in 2018.  






Watching this documentary really drove home the importance of silence for me and how much you can do without the use of dialogue. Probably best exemplified by their 2015 film Shaun the Sheep The movie in which none of the characters say a word including the people in it. The story is all told in actions and noises made by the characters, which made for one of the most successful films in their history as well as being universally watchable around the world without the use of subtitles of dubbing.

This has come to influence my script in turn causing me to go through and see what I can show not tell specifically. I think in the long run this will help tell my story in a much more effective manner.

MAJOR PROJECT: BACKSTORY DEVELOPMENT - BROTHERS

The Karjimi family

In a small town southWest along the coastline from Casablanca called Ben Abid (بن عابد) lived the Karjimi family. Father, mother and two sons Riyad (8) and Islam (5). Adventurous father unexplainably comes home one day to announce he wants to go away to pursue a career in Europe. He wants to take the family, but the hastiness at which he wants things to happen does not appeal to his wife who would rather stay where they are. 

What his wife doesn't know is that he is severe debt with a local man. Hence the speedy nature of his suggestion and sudden movement. He knows the man does not know about his family so he decides to leave them behind and run, go on an adventure to Europe. However there is some reluctancy but he knows he can't come back as he will be hunted down. 

Around 14 years later when the boys are adults their mother becomes severely ill. 

Riyad Karjimi

• 22 years old
• Reluctant factory worker making components expensive cars
• Wants to become an actor, inspired by the film Casablanca, he lives in the shadow of the city itself. 
• Feels a bond with his younger brother and also recognises the potential in his brother to do something great with his gifted mind.
• When his mother falls ill realises there is nothing for him left in Morocco, so makes his mind up to go to Europe to fulfil his ambition and to find their father. 
• He would go himself, but he wants to stick with his brother to be his father figure.
• When mother dies he has to persuade his brother that going to Europe is the best thing for both of them.

Islam Karjimi

Rural Moroccan fruit sellers

• 19 years old
• Works happily as a citrus fruit picker, getting less than minimum wage for something which he finds quite satisfying. 
• Very smart, but doesn't see his own potential like others do.
• He is very intent on staying by his mothers side even when she dies he wants to stay where she is and not leave home. 
• He cannot be persuaded easily, believes he can work his way up through the fruit picking business. 

However the man who 14 years prior was hunting their father down discovers who they are and that they are and who they are related to. So he decides he will get the money from them, threatening them with their lives if they don't pay up. Riyad still can't get his delusional brother to leave until finally the man finds their house raiding it of all possessions including all money saved by the brothers. For good measure he then burns their house down leaving them with nothing. 

This forces them to leave the country however now their is some anger from both of them for their father as he was the one who did this to them. So they go on a journey to track him down and pursue their dreams. 

MAJOR PROJECT: INSPIRATIONS

In the public eye

The topic I am looking at immigration is so in the public eye at the moment and has been for the past few years. With the inception of the jungle camp in Calais in (2002),the situation really showed the desperation of people to get away to a better life. With it now being closed down as of October 28th 2016 the immigration issue is constantly putting itself on the front pages, with Brits not able to look away. 

http://www.dailymail.co.uk/news/article-3890940/Cleared-Infamous-Calais-Jungle-camp-finally-destroyed-shelters-demolished.html

An article here from the Mail online shows the final moments of the week long debacle to get people out of the camp and destroy it. 

The situation at Calais is in turn just forcing the people elsewhere and to try again to get to the UK. More and more stories are cropping up about lorries which have been found to contain many immigrants in dire need of help. 

Eve children and baby's:
http://www.bbc.co.uk/news/uk-england-norfolk-37845838

The issue is not exclusive to the UK either, the problems on the US-Mexican border have been ongoing for many years and are still going on.

http://www.bbc.co.uk/news/world-latin-america-37724317

It is such a surreal and unusual thing to see migrants in the back of lorries, not something British people see everyday. Despite it being in the news constantly at the moment. 
http://www.dailymail.co.uk/news/article-3881712/Migrants-filmed-jumping-lorry-onions-parked-just-M25-Kent.html

I will have to be realistic in my depiction of the brothers situation. I have a lot to use as inspiration for my lorry. As this will be an important part of the film the production design here will have to be on point and realistic, showing the cramped conditions and lack of food and water.

Lorry cargo

What is in the lorry can be beneficial for the story, so I have been doing some research into potential cargo for the lorry driver to be hauling. 

From the most bizarre:
http://www.oddee.com/item_98080.aspx

to the more sensible, according to facts and figures:

The following product groups represent the highest dollar value in United Kingdom’s import purchases during 2015. Also shown is the percentage share each product category represents in terms of overall imports into United Kingdom.

1. Machines, engines, pumps: US$83.4 billion (13.3% of total UK imports)
2. Vehicles: $76.8 billion (12.3%)
3. Electronic equipment: $61 billion (9.7%)
4. Oil: $50.8 billion (8.1%)
5. Pharmaceuticals: $33.1 billion (5.3%)
6. Gems, precious metals: $30 billion (4.8%)
7. Medical, technical equipment: $18.2 billion (2.9%)
8. Plastics: $17.7 billion (2.8%)
9. Aircraft, spacecraft: $15.6 billion (2.5%)
10. Clothing (not knit or crochet): $11.3 billion (1.8%)

These facts are from this page below: 

http://www.worldstopexports.com/united-kingdoms-top-10-imports/

However depending on where the story goes my driver may not know what he is carrying as he has been instructed never to look just drive and say that it is clothes of some description. 

MAJOR PROJECT: DEVELOPING IDEA #3 (EARLY STAGES)

What is the EU?

Lorry driver has to come to terms with his decision to vote to leave the European Union. He is faced head on with a situation which causes him to spill his guts.c

Ordering the plot

I have the right elements here for my story, but my problem is finding the right order to put key moments in to make the best of them.

Examining my idea the things that I notice is that I have 2 strong story elements that could both in theory be their own separate films. My challenge is to glue them together seamlessly to make an even better film, that is not too over complicated. 

Most important moment

Lorry driver discovers that there is a group of immigrants in the back of the lorry. 

I see this is as a very pivotal point in the story, it could be at the beginning or end which gives me a dilemma. 

Beginning

Lorry driver is driving away from Dover along the motorway when he hears a sound from the back of the lorry. This causes him to pull into a car park and investigate, to his horror he discovers a group of tired and hungry immigrants in dire need of help. This causes him to ring up the radio station and apologise to the radio host and to his son. 

End

In this circumstance he would ring up and apologise for his actions before ending with the discovery of the people in the back which would provide a certain surprise and shock to the situation. Only confirming his feelings.

MAJOR PROJECT: UNDERSTANDING THE CHARACTERS

Character exercise - motives and backstories

I have decided as an exercise for me that I should take the TV show I have been watching recently 'Rick & Morty' (Adult Swim) and try and really get under the skin of the characters. This way I can better understand what good characters in a successful TV show are. As well as this I have explored short films to understand better what I will need to know about my characters.

Rick & Morty (Created by Justin Roiland and Dan Harmon)

Rick Sanchez:

• Recently returned estranged Grandfather who has come to live with the Smith family
• He has not seen the family for 14 years
• Genius scientist, whose main goal is to do scientifically amazing things and have a good time
• He is an alcoholic which also contributes to a good deal of maniacal behaviour
• doesn't really care much for the family, reluctantly living under the same room essentially just using the free food and shelter

Morty Smith:

• Adolescent boy who joins Rick on his adventures to alternate dimensions and planets, somewhat reluctantly to begin with (exemplified by the first scene of the show during which Rick bursts into Morty's room in the night to drag him of on an adventure, with a bottle of wine in hand)
• However by the second season is integral to the universe hopping duo
• Normal teenage boy, in love with a girl way out of his league at school, tags along with Rick as a sidekick sometimes taking centre stage
• Going through the turmoil of being a teenage boy just sometimes in an alternate universe

Jerry Smith:

• Father to Morty and son in law to Rick
• Cowardly dad who from time to time joins adventures
• He is in a loveless marriage, it seems impossible that he and his wife (Beth) would ever have gotten married
• They are in constant argument and she is most definitely the man of the house
• Dreams of success and being an actor (in more than one episode he is able to see these realities and wonder what could have been)

Beth Smith:

• Wife of Jerry and son of Rick
• Strong willed mother and wife of the Smith family
• Instigates arguments with Jerry due to his inadequacies
• Works as Horse surgeon (for which Jerry constantly tells her is not as good as being a human surgeon)
• Doesn't really like Rick as a father as he is harsh and lacking in human emotions 

Summer Smith:

• Daughter of Jerry and Beth, sister of Morty
• Teenage girl always trying to gain more popularity at school than she currently has.
• As the seasons progress ends up on more and more adventures with Rick & Morty
• Critical of parents
• Not as easy to get a read on her and her motives

Poilus (2016, short film) (Vimeo) (Isart Digital)

POILUS (2016) from ISART DIGITAL on Vimeo.

Being only 4 minutes in length and only having one real main character this story has to do a lot with very little, but does so very effectively. Using the setting of wartime French trenches, but instead of using people the animation team uses human sized rabbits which rather surprisingly works very well.

Harmonica playing rabbit:

• The main character of the piece who plays the harmonica instead of joining the charge over the top
• He is eventually forced to go over the top by his commanding officer
• Musically talented rabbit doesn't want to fight much like many of the other rabbits in the trench
• He is afraid
• Gets gassed by an enemy shell which causes him to hallucinate
• He must have been a talented musician in his life before war. What could have become of him if not for the unstoppable juggernaut of war?

Commanding officer:

• Has one goal to encourage the forces under his command to charge the opposition.
• No rabbit left behind
• All of the rabbits are scared the Harmonica rabbit is no exception. 
• He finds him once the charge has begun and forces him over the top. 

Opposing soldier Harmonica player:

• He may be a dead character, but his story is similar to our main characters
• A music lover who has ended up curtailed by this war
• Accidentally shot by main rabbit after gas attack
• Even though he is portrayed as a monster he is really just the same as the main rabbit

This exercise has been a useful one to try and work out what characters from other stories are all about. This in turn will help me understand how I should approach my character which are the most important part of the story.