Film Ambitions

Within the first three film lectures I have come to terms with the prickly nature of film production. For there is only one way you can handle a porcupine and taking the wrong approach could prove to be tragic. And although many interesting structures, methods, and effects have been introduced to the class, I am interested to see which of those are within our means. Despite such apprehensions there are a few features that I would like to utilize into my group’s project.

The regressing film structure of Sunset Boulevard provides appeal that would adequately suit a short film. The said movie leads off with a scene that portrays a tragic yet mysterious murder. Although the film shortly reverts back in time to the building story line, the unconventional beginning gives the movie an early bout of tension. Not only does such tension amplify the drama of the story, it hangs the spectator on the story’s plot- just like a good cliffhanging end to a novel’s chapter. My hopes for incorporating such a technique would be to engross the observer into the movie. When watching film clips on a website, like Youtube, it becomes second nature to complacently surf from video to video, never watching the shorts all the way to the finish. My wish is to eliminate the possibility of onlookers passing my group’s work after the first minute. Exploiting this method is even more appealing when you recognize how reproducible it is with the technology and talent we have been allotted. With a minor storyboard inversion we would be on the fast track to producing an attention hogging film expedition.

Beyond the possible introduction of storyboard inversions into our group movie, effective lighting techniques are a must. After watching Sunset Boulevard in combination with Dietz’s film workshop, my shallow world of film lighting was exposed. The three point lighting system provides depth to shots and a much needed focal point to direct the audience’s eye. Darkness can provide a melancholy atmosphere where bright light can illuminate gay occasions. In Sunset Boulevard, the lighting on Norma Desmond serves as a pristine example of lighting that directs the mood of the audience. Hard lighting on her face lets the audience know that the camera denies her of star status. Most stars at the time had only soft light cast upon her face to preserve their perfect appearance and persona. Although our lighting set up will undoubtedly be a fine example of second hand rigging, I’m excited to explore our possibilities.