Role 1-Sound

Job description: Responsible for creating the sound and blending and editing sounds in post-production. This includes creating diegetic (sounds that would naturally occur within the scene), such as Foley and ambient sounds, and non-diegetic sounds (would not naturally occur in the world), such as underscore and narration. These are edited into the film to for reasons such as creating verisimilitude and enhancing the tone or narrative of the film. As well as using J and L cuts for reasons such as creating more natural dialogue.

Inspirational Professional: John Williams is one of my inspirations, as he is responsible for creating the sound in many films, such as Jaws, Jurassic Park and the Star Wars franchise. He uses leitmotifs for characters such as Darth Vadar and Jaws, create the tone of the character, as well as making the audience anticipate them and fear what is to come, only through use of sound. Additionally, throughout Jaws sound causes the audience to feel tense and on edge, often in times where there is no visible threat within the scene, using asynchronous sound, so the sound creates all the fear within the scene. This is present in other horror films such as The Shining. Therefore, sound is an important element of film, as without it, films such as horror would be much less frightening and impactful. Additionally, the sound use in Dunkirk by Hans Zimmer is an inspiration to me, who also used leitmotifs to create the tone and link themes such to the film. As well as his use of his use of the Shepard’s Tone, where it sounds as if the sound is getting constantly higher or lower, to create a tense tone.

Role 2-Editor

Job description: Responsible for deleting, arranging and splicing film shots together, assembling all the shots to bring the film together during post-production. Using techniques such as match cuts, J and L cuts, the Kuleshov effect and different methods of montage to create the overall tone and pace of the film, as well as making meaningful connections between shots.

Inspirational Professional: Edgar Wright’s films are inspiration to me because the editing in his films are often fast paced and engaging, through using quick cuts. This is demonstrated through many of his films but a good example is Scott Pilgrim vs the World, where match cuts, especially graphic matches often used for transitions, are used to create a fast paced and engaging film, as well as being used to enhance the comedy, which he uses in many of his films. Additionally, the editor Tom Cross, who edited films such as Whiplash and La La Land, using techniques such as rhythmic montage to create intense scenes, such as the final scene of Whiplash where the cuts are matched to the fast paced music.

Role 3-Screen Writing

Job description: Responsible for creating the narrative through writing the script/screenplay for a film. As well as creating and developing the characters and plot points within the film. They also create important elements of the story, such as coming up with the main themes and ideas of the film. These main ideas have to be engaging for the film to actually succeed.

Inspirational Professional: I have many screenwriting inspirations, such as films that use foreshadowing in the screen writing to cleverly hint at what is to come in the narrative. Screen writing for films such as Hot Fuzz inspire me as they use this foreshadowing, as well as using screenwriting to enhance the comedy. This is additionally present in films such as Taika Waititi’s screenplay for Hunt For the Wilder People, which has comedic moments but also more serious and emotional moments. Taika Waititi does this within his screenwriting in many of his films such as Jojo Rabbit, which makes him one of my inspirations. As well as this, all of these films also include great examples of interesting, complex and well developed characters, such as Jojo in Jojo Rabbit and Ricky Baker in Hunt for the Wilder People.

Role 1: Cinematographer – A cinematographer’s role within a film piece is to elevate the director’s vision, making sure that the lighting, camera angles, and location are perfect for the shoot, amplifying the tone of a scene to create a more immersive atmosphere for the audience. I am inspired by Roger Deakins’ cinematography, in particular his continuous long-takes in such films as 1917.

Role 2: Editor – An editor’s job is to manipulate the recorded shots, creating the plot through either direct or almost subliminal means, implementing the score and reinforcing continuity. They are also in charge of what is and isn’t featured in the final product. Tom Cross’ editing within films such as whiplash or la la land.

Role 3: Screenwriter – Screenwriters write the film’s script, forming plotlines with explicit directions for the actors to move the production in the way they want it to – but still with enough room for creative freedom for the rest of the production crew; sometimes even leading in parts of the screenplay being removed for a better film piece. I want to take inspiration from screenwriters like Francis Ford Coppola for this section, to create a compelling short story.

INSPIRATIONAL PRACTITIONERS:

Director– Sofia Coppola

Some of her trademarks:

• Showing human connection through images oppose to words; intimacy between characters exploring human connection/mystery of love that transcends words. (‘underwater in the swimming pool to playfully sip imaginary tea. The swimming pool becomes a metaphor for the womb and only here, away from the pressures of Hollywood and society in general, can they truly connect. It’s one of the most beautiful father/daughter moments on film.’ – Somewhere https://www.youtube.com/watch?v=eQgwLES_aOI )
• Young woman coming of age through heartbreak.
• Characters using fashion to express themselves (Marie Antoinette–  fashion transcends beyond the representation of womanhood into the social and political realm. In this scene set to Bow Wow Wow’s “I Want Candy,” pastel-coloured shoes and gowns get mashed up with sweets, lap dogs, and an endless stream of champagne emphasizing the corruption of the ruling class. Marie’s (Kirsten Dunst) impossibly tall wig decorated with baby birds sits precariously on top of her head, ready to topple down at any moment – just like the ill-fated aristocracy, foreshadows that heads will literally roll.)
• Source: https://screencraft.org/blog/5-trademarks-of-sofia-coppolas-films/

Editor- Tom Cross (Works closely with director Damien Chazelle)

• Use of the Kuleshov effect (seen in Whiplash final scene)
• Fast paced cuts
• Overt editing style ‘overt editing style – Whiplash, for example. So a lot of my work in those films is more noticeable, you feel the cuts.’
• Trying to build characters and character arcs through editing (‘inject the characters into that scene. We had to find all the right moments of Miles Teller and J.K. Simmons – especially the pieces when their eyes meet’)
• Source: https://www.forbes.com/sites/danidiplacido/2019/01/02/tom-cross-editor-of-first-man-talks-the-art-of-the-edit/?sh=2d74988019d4

Cinematographer- Robert Yeoman (Works closely with director Wes Anderson)

• Colours/Black and white (The French Dispatch and Grand Budapest Hotel etc)
• Framing – eg ‘lots of symmetrical compositions and shots that are constructed to reflect the perspective of a specific character in a film. Lots of straight-on views and quite a heavy usage of wide angle lens.’
• Low and high angle shots
• Frame in frame shots
• Whip pans – one of the most distinctive camera moves known from Anderson films. Most of the time it is used to change the view from one character to another. In Grand Budapest Hotel we can even see 180 degree pan between 2 characters on the opposite ends.
• Zooms – in critical moments we can see some extreme zooms to bring the audience right into action.
• Sideway dollies – oftentimes the character on screen is followed by the camera sideways.
• Tilts – coupled with wide angle lens it creates an extreme change in perspective.
• Source: https://timeinpixels.com/2015/09/cinematography-in-grand-budapest-hotel/

Role 1: Editor-

A film editor, sometimes called a film and video editor, a movie editor, or an editor for film, is a technical professional who removes unnecessary footage and assembles the remaining pieces together to make finished works. Film Editors work on movies, TV programs, commercials, music videos, and other pieces of video content.

Film editors collaborate with other film professionals, including directors, sound editors, and cinematographers. Their work makes sure that films represent their director’s vision and tell their stories in the most engaging and effective ways. When film editors finish their work, the viewing experience should be seamless, as if the footage was never edited at all.

My inspiration for editing is Zach Staenberg. He has edited films such as The Matrix and The Matrix Reloaded as well as China Lake.

Role 2: Director-

Directors are the creative leads of the film. They hold the creative vision throughout the whole process, from pre-production through to the final edit.

They are employed by the executive producer or producer, who is ultimately in charge of a production. Directors start with a script, and work with a screenwriter and sometimes a script editing team. It’s not uncommon for the director to be the screenwriter as well.

My inspiration for direction is David Fincher. He has directed films such as Se7en, Zodiac and Fight Club.

Role 3: Cinematographer-

Cinematographers play an essential role in film production, dictating the overall look and visual style of a motion picture, television show, music video, or advert. They’re the person responsible for bringing a director’s vision to life on screen, handling all the technical aspects of visual storytelling.

Also known as a director of photography (DP or DoP), the cinematographer heads up the film crew and light crew on the film set. They’re generally involved in the entirety of the film production, from the early storyboarding stage – working on the in-depth visual narrative – right through to post-production.

My personal inspiration for cinematography is Dan Laustsen. He has filmed John Wick 2 and 3 as well as Silent Hill and Nightwatch.

1.Cinematographer of The Shining: John Alcott

I really love Alcott’s use of symmetry in The Shining and would like to take inspiration from it in my own work. The whole mood of the film is dictated by the cinematography elements and I especially love the close up shots used to create discomfort and tension.

2. Sound editor of Dunkirk: Richard King

I’m fascinated by the use of the Shepard tone in Dunkirk and how it builds suspense and I would like to utilise it in my future projects. I also just believe that sound is one of the most important elements of film and find the different uses of sound really interesting.

3. Director of Se7en: David Fincher

Fincher is my all time favourite director and I specifically love the way he blocks the scene and the characters and the mood he creates with his mise-en-scene. I would really like to experiment with mise-en-scene and practice using it in my own work as i really enjoy the little details it gives.