Thursday, 8 December 2011
Sound
I have thus far not been able to find any music that I feel is suitable enough or good enough for our opening after extensive research on copyright-free music sights. I do have an idea of the kind of thing that I am looking for but I haven't been able to find any copyright-free examples of it. This song (although copyrighted) gives quite a good example of the thing I am envisaging: from 3:28 to 4:25. I will continue to search for more music that we will actually be able to use.
Props & Actors
Props
Actors
If we could get anybody for the role of the main character, my first choice would be Ryan Gosling. This is because he is a versatile actor who can play gritty roles and yet demand sympathy from the audience in the role of the protagonist. Of course, our film is set in England, and I don't know if Gosling would be able to affect an accent but I think he would fit the role well otherwise. Here is a picture of him in one of his latest roles in Drive:
For the role of the murderer we have chosen Callum as we believe he could portray his character very well.
For the role of the man who sits down next to the main character briefly on the DLR, I think an actor like Anton Yelchin would be good because I think that the character should look young and quite innocent from what little we see of him - as if he is an young man with potential who has just entered into a world of crime.
For the part of the mysterious man on the train, we have chosen Ollie Brenmann because he has acting experience with roles such as this one.
For the role of the man in the suit who tells the main character who the a target is, I think an actor such as George Clooney would be perfect. It's not a big role so I don't imagine that he would accept the role but it would be good to have someone that, in a suit, would look strangely suave and handsome yet also like he could be dangerous and could be quite ruthless.
For the role of the man on the platform, we have chosen Gus Grant, due to the fact that he will physically resemble the character we had in mind a lot.
I would ideally cast Chloe Grace Moretz in the role of the young girl who is killed by the main character. She looks young and innocent which would emphasise the emotional conflict that the main character has to surmount in order to carry out his hit.
The character of the young teenage girl will be played by Alice Alphonse. We have chosen her because we believe that she has the most physical resemblance to the character we imagined in our heads.
The character of the young teenage girl will be played by Alice Alphonse. We have chosen her because we believe that she has the most physical resemblance to the character we imagined in our heads.
Tuesday, 6 December 2011
Title Sequence Research
I have looked at two title sequences of films vaguely similar to ours to look at the the graphics used and the timings.
The timings are listed here:
The timings are listed here:
Juno Title Sequence
· 00:15 – Fox Searchlight Pictures
· 00:21 – A Mandate Pictures/Mr. Mudd Production
· 00:26 – A Jason Reitman Film
· 00:30 – Juno
· 00:40 – Ellen Page
· 00:44 – Michael Cera
· 00:49 – Jennifer Garner
· 00:57 – Jason Bateman
· 01:02 – Allison Janney
· 01:06 – J.K. Simmons
· 01:11 – Olivia Thirlby
· 01:18 – Casting by Mindy Marin, C.S.A. and Kara Lipson
· 01:22 – Costume Designer – Monique Prudhomme
· 01:27 – Music by Mateo Messina, Songs by Kimya Dawson
· 01:33 – Music Supervisors – Peter Afterman and Margaret Yen
· 01:40 – Co-Producers – Jim Miller, Kelli Konop, Brad van Arragon
· 01:44 – Film Editor – Dana E. Glauberman
· 01:49 – Production Designer – Steve Saklad
· 01:54 – Director of Photography – Eric Steelberg
· 01:59 – Exec. Producers – Joe Drake, Nathan Kahane, Daniel Dubiecki
· 02:05 – Produced by Lianne Halfon, John Malkovich, Mason Novick, Russell Smith
· 02:10 – Written by Diablo Cody
· 02:18 – Directed by Jason Reitman
Scott Pilgrim vs. the World Title Sequence
· 00:20 – Universal Pictures Presents
· 00:24 – A Marc Platt, Big Talk Films and Closed on Mondays Production
· 00:31 – Scott Pilgrim vs. the World
· 00:34 – Michael Cera
· 00:37 – Mary Elizabeth Winstead
· 00:39 – Kieran Culkin
· 00:41 – Chris Evans
· 00:44 – Anna Kendrick
· 00:47 – Brie Larson
· 00:50 – Alison Pill
· 00:52 – Aubrey Plaza
· 00:55 – Brandon Routh
· 00:58 – Jason Schwartzman
· 01:01 – Johnny Simmons
· 01:03 – Mark Webber
· 01:06 – Mae Whitman
· 01:09 – Ellen Wong
· 01:11 – Satya Bhabha, Keita Saito, Shota Saito
· 01:14 – Casting by Allison Jones, Robin Cook, C.S.A. and Jennifer Euston, C.S.A.
· 01:17 – Music composed by Nigel Godrich
· 01:19 – Music Supervisor – Kathy Nelson
· 01:22 – Co-Producers – Joe Nozemack, Lisa Gitter, Steven V. Scavelli
· 01:25 – Costume Designer – Laura Jean Shannon
· 01:27 – Visual Effects Supervisor – Frazer Churchill
· 01:30 – Jonathon Amos, Paul Machliss
· 01:33 – Production Designer – Marcus Rowland
· 01:35 – Director of Photography – Bill Pope, A.S.C
· 01:38 – Exec. Producers – Ronaldo Vasconcellos, J.Miles Dale
· 01:40 – Exec. Producers – Jared Leboff, Adam Siegel
· 01:43 – Produced by Marc Platt, Eric Glitter
· 01:46 – Produced by Nira Park, Edgar Wright
· 01:48 – Based on the Oni Press Graphic Novels by Bryan Lee O’Malley
· 01:51 – Screenplay by Michael Bacall and Edgar Wright
· 02:00 – Directed by Edgar Wright
From this, I have learnt that there are often a large amount of credits to fit into what is generally a two minute slot. In the case of Juno, the credits even fill a slot longer than two minutes, so we will need to use less credits than them for our two minute opening. It is also clear that all the various departments are given credits individually, rather than displaying lots of credits all at once, so we must make sure to do that also.
From this, I have learnt that there are often a large amount of credits to fit into what is generally a two minute slot. In the case of Juno, the credits even fill a slot longer than two minutes, so we will need to use less credits than them for our two minute opening. It is also clear that all the various departments are given credits individually, rather than displaying lots of credits all at once, so we must make sure to do that also.
Thursday, 1 December 2011
Classifying Our Film
I have been researching film classification this week by looking at the British Board of Film Classification website and reading their definitions and criteria for various classifications.
From the subject matter of our film, it will probably fit into anything from 12A to 18. From looking at the BBFC's criteria for a 12A/12 classification, I don't think that our film will be suitable for this classification. This is because I believe that, if we were to make the entire film, there would be a lot of strong language used. Furthermore, the BBFC says that to qualify for a 12A/12 classification, violence must not "dwell on detail" and there should be "no emphasis on injuries or blood". I think this would be too restrictive and we would not be able to shock and thrill audiences well enough if these restrictions were in place.
Equally, I don't think an 18 rating would be necessary. With, an 18 rating, one is able to put almost anything in their film, with the only exceptions being incredibly explicit sexual content and potentially socially harmful images such as sexualised violence which glamourises and eroticises violence. I think that the 15 classification would be more of a happy medium between 12A/12 and 18.
The 15 classification is not only the most suitable for our film, but also the most accessible. The primary cinema audience is 15-25 year olds so the 15 classification allows this entire age group to see the film. At the same time, it differs from a 12 rating or lower as it does not patronise the viewer and still makes them think that the film will have some grittiness and realism to it. I think with a 15 classification, we could show everything we want to show in the film while still getting the right audience.
To illustrate this, I will look at each category of controversy that the BBFC states qualifies a film as a 15.
Discrimination
"The work as a whole must not endorse discriminatory language or behaviour."
We do not intend to put any discriminatory language in our production. However, if we do decide to put any in, it will definitely not be endorsed and will be presented as negative.
Drugs
"Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable."
I envisage that there could be some drug-taking later on in our film but it will not be stylised and will probably be used for the purpose of characterisation.
Horror
"Strong threat and menace are permitted unless sadistic or sexualised."
As the film deals with assassination and murder, there will be quite a strong degree of threat throughout the film, but it will definitely not be presented as sadistic or sexualised.
Imitable Behaviour
"Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised."
There will be very little imitable behaviour in our film, as most of the violence will be carried out by members of professional crime syndicates who will have means of killing that are not easily accessible or easily copied.
Language
"There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable."
As our film will include a variety of unsavoury, "gritty" individuals, there will be frequent use of strong language but it should all be somewhat justified by the context. It will not be too aggressive, nor excessively strong.
Nudity
"Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context."
Sex
"Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable."
There may be a sex scene later on in our film and references to sex. There will probably be some nudity in the sex scene but it will not be excessively prolonged, nor excessively detailed. The sex itself will also not be excessively detailed or prolonged.
Theme
"No theme is prohibited, provided the treatment is appropriate for 15 year olds."
The mature themes of violence and probably sex will be present in our film, but we will present thing in a way that I am sure 15 year olds will be able to cope with.
Violence
"Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification."
There will be quite a lot of violence in the film, but it will be from medium-strong intensity. It will not be sexualised nor will it be excessively gory.
It is worth thinking about the possibility of our film fitting into any niche audiences. The themes of our film are fairly mainstream and so the film will probably just fit into the mainstream audience that generally go to see thrillers. However, as it is filmed around London, this may entice Londoners in particular to go and see it as they may find it more absorbing to watch a thriller based around their hometown.
From the subject matter of our film, it will probably fit into anything from 12A to 18. From looking at the BBFC's criteria for a 12A/12 classification, I don't think that our film will be suitable for this classification. This is because I believe that, if we were to make the entire film, there would be a lot of strong language used. Furthermore, the BBFC says that to qualify for a 12A/12 classification, violence must not "dwell on detail" and there should be "no emphasis on injuries or blood". I think this would be too restrictive and we would not be able to shock and thrill audiences well enough if these restrictions were in place.
Equally, I don't think an 18 rating would be necessary. With, an 18 rating, one is able to put almost anything in their film, with the only exceptions being incredibly explicit sexual content and potentially socially harmful images such as sexualised violence which glamourises and eroticises violence. I think that the 15 classification would be more of a happy medium between 12A/12 and 18.
The 15 classification is not only the most suitable for our film, but also the most accessible. The primary cinema audience is 15-25 year olds so the 15 classification allows this entire age group to see the film. At the same time, it differs from a 12 rating or lower as it does not patronise the viewer and still makes them think that the film will have some grittiness and realism to it. I think with a 15 classification, we could show everything we want to show in the film while still getting the right audience.
To illustrate this, I will look at each category of controversy that the BBFC states qualifies a film as a 15.
Discrimination
"The work as a whole must not endorse discriminatory language or behaviour."
We do not intend to put any discriminatory language in our production. However, if we do decide to put any in, it will definitely not be endorsed and will be presented as negative.
Drugs
"Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable."
I envisage that there could be some drug-taking later on in our film but it will not be stylised and will probably be used for the purpose of characterisation.
Horror
"Strong threat and menace are permitted unless sadistic or sexualised."
As the film deals with assassination and murder, there will be quite a strong degree of threat throughout the film, but it will definitely not be presented as sadistic or sexualised.
Imitable Behaviour
"Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised."
There will be very little imitable behaviour in our film, as most of the violence will be carried out by members of professional crime syndicates who will have means of killing that are not easily accessible or easily copied.
Language
"There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable."
As our film will include a variety of unsavoury, "gritty" individuals, there will be frequent use of strong language but it should all be somewhat justified by the context. It will not be too aggressive, nor excessively strong.
Nudity
"Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context."
Sex
"Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable."
There may be a sex scene later on in our film and references to sex. There will probably be some nudity in the sex scene but it will not be excessively prolonged, nor excessively detailed. The sex itself will also not be excessively detailed or prolonged.
Theme
"No theme is prohibited, provided the treatment is appropriate for 15 year olds."
The mature themes of violence and probably sex will be present in our film, but we will present thing in a way that I am sure 15 year olds will be able to cope with.
Violence
"Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification."
There will be quite a lot of violence in the film, but it will be from medium-strong intensity. It will not be sexualised nor will it be excessively gory.
It is worth thinking about the possibility of our film fitting into any niche audiences. The themes of our film are fairly mainstream and so the film will probably just fit into the mainstream audience that generally go to see thrillers. However, as it is filmed around London, this may entice Londoners in particular to go and see it as they may find it more absorbing to watch a thriller based around their hometown.
Wednesday, 30 November 2011
Attaining Necessary Permission to Shoot on the DLR
I have done some research and it has become clear that TFL are extremely strict in their regulations regarding filming on public transport. It appears we have to fill in this application in order to gain a student permit to film. It also appears that, according to TFL's Guide to Filming, it will cost £40 and be valid for one month from the date of issue. Therefore, it seems we must seek some funding as well as making sure that we have the necessary forms sent in. We will also need to make sure that we talk to certain people as the terms and conditions of the permit state that we must talk to the Station Supervisor in order to gain permission to use a tripod.
Production Research
I am looking at films on which to model ours in terms of production. I am beginning by looking at Film4 Production's production list to find films similar to our one i.e. low budget, British, gritty, thrilling. Film4 don't appear to made a lot of thrillers but have made many dramas so I will look at those as well.
One of the thrillers that Film4 have made is Dead Man's Shoes, a psychological thriller starring Paddy Considine and directed by Shane Meadows (who went on to direct This is England). It had a very small budget - £723,000 and was all shot in England. Although it seems a bit darker than our film and is rated an 18, it seems similar to to our film in some ways and thus I think Film4 could be a good company to produce our film.
Film4 also made the drama This is England which had a medium budget of £1,500,000. It was all filmed in England, although not in London where our film will be filmed. It did well in the box office, grossing $8,176,544.
Clearly Film4 specialise in films that are low-mid budget and are not averse to thrillers. I think they would do a good job with our film if they were to produce it and that they would be a strong choice if we were to look for a production company.
BBC Films produce and co-produce around 7 or 8 films a year. Previous projects include Eastern Promises (2007), a British thriller about the secrets surrounding a Russian mob family, and Brighton Rock (2010), another British thriller about small-town gang violence. And more recently, We Need To Talk About Kevin (2011), a psychological thriller based on the novel by Lionel Shriver, and The Awakening (2011), a World War I thriller depicting a woman who is haunted by a child ghost.
BBC Films aims to showcase the best of British talent and British independant films. They commit themselves to finding and developing new talent. I think they would be a good company to produce our thriller, as we are still fairly new to the process and they could help bring publicity to our film as they already so well established in the production industry. Their films also tend to be low to mid budgeted, and I believe our film falls comfortably into that bracket. Although they don't limit themselves to thrillers, they seem to specialise in them, therefore they would have the capacity, resources, and expertise to produce our film, as it will be a thriller.
Film London are a film and television production company whose credits mainly include low budget British films such as Shifty. They have also been involved in the production of films such as My Week With Marylin, a popular Oscar contender, and Is Anybody There?, starring Michael Caine.
Aside from being involved in films as producers, Film London also offer resources to aspiring or independent film makers. They can offer application or permission forms for directors to film in certain parts of London and help independent film makers with advice on and what to film in London.
We would most likely aim for this production company as many of it's resources would most likely be of use to us. Half of our film is set on the Docklands Light Railway and the stations surrounding it, meaning that we would be able to use Film London to secure permission to film on it. Furthermore, some of the films it has produced seem to be of a similar budget and style to the one we are currently making, meaning it would be a useful production company for our film.
We have decided to use BBC Films as our production company, in partnership with Film London and another independent production company. This is because we feel like we would be in safe hands with BBC Films as they have a lot of experience with making the type of film we want to make. We think Film London would be a safe bet because they have helped many independent British Films in the past and we feel like our film could be successful with their help. An independent film company would be useful as they would know a lot about producing independent films and be experienced with it.
One of the thrillers that Film4 have made is Dead Man's Shoes, a psychological thriller starring Paddy Considine and directed by Shane Meadows (who went on to direct This is England). It had a very small budget - £723,000 and was all shot in England. Although it seems a bit darker than our film and is rated an 18, it seems similar to to our film in some ways and thus I think Film4 could be a good company to produce our film.
Film4 also made the drama This is England which had a medium budget of £1,500,000. It was all filmed in England, although not in London where our film will be filmed. It did well in the box office, grossing $8,176,544.
Clearly Film4 specialise in films that are low-mid budget and are not averse to thrillers. I think they would do a good job with our film if they were to produce it and that they would be a strong choice if we were to look for a production company.
BBC Films produce and co-produce around 7 or 8 films a year. Previous projects include Eastern Promises (2007), a British thriller about the secrets surrounding a Russian mob family, and Brighton Rock (2010), another British thriller about small-town gang violence. And more recently, We Need To Talk About Kevin (2011), a psychological thriller based on the novel by Lionel Shriver, and The Awakening (2011), a World War I thriller depicting a woman who is haunted by a child ghost.
BBC Films aims to showcase the best of British talent and British independant films. They commit themselves to finding and developing new talent. I think they would be a good company to produce our thriller, as we are still fairly new to the process and they could help bring publicity to our film as they already so well established in the production industry. Their films also tend to be low to mid budgeted, and I believe our film falls comfortably into that bracket. Although they don't limit themselves to thrillers, they seem to specialise in them, therefore they would have the capacity, resources, and expertise to produce our film, as it will be a thriller.
Film London are a film and television production company whose credits mainly include low budget British films such as Shifty. They have also been involved in the production of films such as My Week With Marylin, a popular Oscar contender, and Is Anybody There?, starring Michael Caine.
Aside from being involved in films as producers, Film London also offer resources to aspiring or independent film makers. They can offer application or permission forms for directors to film in certain parts of London and help independent film makers with advice on and what to film in London.
We would most likely aim for this production company as many of it's resources would most likely be of use to us. Half of our film is set on the Docklands Light Railway and the stations surrounding it, meaning that we would be able to use Film London to secure permission to film on it. Furthermore, some of the films it has produced seem to be of a similar budget and style to the one we are currently making, meaning it would be a useful production company for our film.
We have decided to use BBC Films as our production company, in partnership with Film London and another independent production company. This is because we feel like we would be in safe hands with BBC Films as they have a lot of experience with making the type of film we want to make. We think Film London would be a safe bet because they have helped many independent British Films in the past and we feel like our film could be successful with their help. An independent film company would be useful as they would know a lot about producing independent films and be experienced with it.
Tuesday, 29 November 2011
Costume
l I imagine the main character as being dressed in a white shirt, leather jacket and chinos. I hope that the leather jacket show he has a somewhat tough veneer, yet the white shirt and chinos will show that he is still essentially a normal guy and deserving of some sympathy from the audience.
l I think the man on the train should be dressed in a tweed jacket and smart trousers. I hope this will convey the organisation of the hit and subvert the gritty stereotype of crime.
l I think the man on the platform should be dressed in a smart suit, although with one distinguishable piece of clothing that makes him stand out. This man is again part of this well organised crime but one thing about him makes him seem different to the other commuters etc.
l I think the girl should be dressed in a green duffel coat and of course a red hat.
Monday, 28 November 2011
Production Companies
I am researching the production companies that produced various thrillers similar to the one that we are making.
Blue Velvet (1986)
Blue Velvet is a mystery thriller written and directed by David Lynch. It was produced by De Laurentiis Entertainment Group. Blue Velvet was the sixth film that they had produced. Their list of films is fairly varied in genre, having produced other thrillers such as Michael Mann's Manhunter as well as dramas such as Weeds, horrors such as Trick or Treat and comedies such as Bill and Ted's Excellent Adventure. De Laurentiis Entertainment Group were bought by Village Roadshow in 1988.
Collateral (2004)
Collateral is a crime thriller directed and co-written by Michael Mann. IMDB cites 4 production companies as having been involved with the production of Collateral. These are Paramount Pictures, Dreamworks SKG, Parkes/MacDonald Productions and Edge City. While Paramount Pictures and Dreamworks SKG are extremely well known for a wide variety of films, Parkes/MacDonald Pictures and Edge City have been a lot less prolific. Parkes/Macdonald Pictures are credited with only 13 films on IMDB, most of which are thrillers such as Catch Me If You Can and The Island. They also produced the 2007 horror film Sweeney Todd: The Demon Barber of Fleet Street and the 2010 remake of the French comedy Le Dîner de Cons - Dinner for Schmucks.
The Insider (1999)
The Insider is a biographical thriller directed by Michael Mann. Six production companies produced The Insider: Blue Lion Entertainment, Forward Pass, Kaitz Productions, Mann/Roth Productions, Spyglass Entertainment and Touchstone Pictures. Spyglass Entertainment and Touchstone Pictures are the most established of these companies, having produced many films of a wide variety of genres. Mann/Roth Productions only film credit to date is The Insider and Kaitz Productions have produced only The Insider and Olin: Documented Fairy Tale in 1998. Blue Lion Entertainment have produced only 10 films, most of which are thrillers and dramas. Forward Pass have worked with Michael Mann on 5 of his films and also produce mainly thrillers.
Shifty (2008)
Shifty is a British urban thriller written and directed by Evan Creevy. It was produced by three different production companies: BBC Films, Between the Eyes and Film London. BBC Films have produced over 200 films, including most of the more successful recent British films. Between the Eyes are a small London-based production company that have produced mainly shorts and dramas. Film London is described by Wikipedia as "the capital's film and media agency - sustaining, promoting and developing London as a major international film-making and film cultural capital." They have been responsible for the production of various shorts and dramas.
Blue Velvet (1986)
Blue Velvet is a mystery thriller written and directed by David Lynch. It was produced by De Laurentiis Entertainment Group. Blue Velvet was the sixth film that they had produced. Their list of films is fairly varied in genre, having produced other thrillers such as Michael Mann's Manhunter as well as dramas such as Weeds, horrors such as Trick or Treat and comedies such as Bill and Ted's Excellent Adventure. De Laurentiis Entertainment Group were bought by Village Roadshow in 1988.
Collateral (2004)
Collateral is a crime thriller directed and co-written by Michael Mann. IMDB cites 4 production companies as having been involved with the production of Collateral. These are Paramount Pictures, Dreamworks SKG, Parkes/MacDonald Productions and Edge City. While Paramount Pictures and Dreamworks SKG are extremely well known for a wide variety of films, Parkes/MacDonald Pictures and Edge City have been a lot less prolific. Parkes/Macdonald Pictures are credited with only 13 films on IMDB, most of which are thrillers such as Catch Me If You Can and The Island. They also produced the 2007 horror film Sweeney Todd: The Demon Barber of Fleet Street and the 2010 remake of the French comedy Le Dîner de Cons - Dinner for Schmucks.
The Insider (1999)
The Insider is a biographical thriller directed by Michael Mann. Six production companies produced The Insider: Blue Lion Entertainment, Forward Pass, Kaitz Productions, Mann/Roth Productions, Spyglass Entertainment and Touchstone Pictures. Spyglass Entertainment and Touchstone Pictures are the most established of these companies, having produced many films of a wide variety of genres. Mann/Roth Productions only film credit to date is The Insider and Kaitz Productions have produced only The Insider and Olin: Documented Fairy Tale in 1998. Blue Lion Entertainment have produced only 10 films, most of which are thrillers and dramas. Forward Pass have worked with Michael Mann on 5 of his films and also produce mainly thrillers.
Shifty (2008)
Shifty is a British urban thriller written and directed by Evan Creevy. It was produced by three different production companies: BBC Films, Between the Eyes and Film London. BBC Films have produced over 200 films, including most of the more successful recent British films. Between the Eyes are a small London-based production company that have produced mainly shorts and dramas. Film London is described by Wikipedia as "the capital's film and media agency - sustaining, promoting and developing London as a major international film-making and film cultural capital." They have been responsible for the production of various shorts and dramas.
Film4 Productions
Film4 Productions is a British production company owned by Channel 4 that has been involved in the production of many films made in the UK, many of which have been critically acclaimed. They produce mostly dramas but also a few thrillers.
Definition of a thriller
The Wikipedia page for 'Thriller (genre)' states that "thrillers are a genre of literature, film, and television programming that uses suspense, tension, and excitement as the main elements." Clearly these are all elements that we need to include in our opening. I am hoping that the lack of direct information given to the audience will incite tension and suspense whilst the idea of an assassination about to take place and the cold opening of the black screen with muffled screams will provide excitement whilst adding to the suspense and tension.
Tuesday, 22 November 2011
Today's Production Meeting
Today, we started putting our finished shot list into a table, however we had to stop briefly to discuss how we wanted to finish the opening because we hadn't actually completed the plot yet. In the end, we completed about half of the shot list as well as adding a few shots to it. For homework we redrew our story boards, incorporating the new shots.
Thursday, 10 November 2011
Film Opening Ideas
In order to come up with an idea for our film opening, my classmates and I each came up with two ideas which we then shared with each other. From these we came up with a final idea.
The concepts I came up with are as follows:
The first was three simultaneous story-lines which all centred around drugs. A man is shown sitting at a café and is approached by a second man. The second man is shown tucking a package into a newspaper and he sits down opposite the man in the café. He says nothing and slides the newspaper over towards the first man. We then cut to two teenagers walking down a road. A police siren is heard and one of the boys looks very concerned. He darts into a nearby public toilet.We then cut to a woman snorting a line of white powder. She then rings somebody and asks for "some more". We show here waiting for a few hours before she goes to leave. However, just as she is about to leave somebody knocks slowly and ominously on the door.
The second began with an establishing shot of an office before centring on one employee. He is about 30 and is an average-looking man. He is shown interacting briefly with a fairly attractive woman also working in the office who is about the same age as him. We then cut to the end of the day and the man and woman are leaving together. They say goodbye and go separate ways. As soon as the woman is out of sight, a look of urgency comes across the man's face and he begins walking briskly. We show him making his way towards a destination whilst simultaneously showing the woman catching the bus home. Through this it is made clear to the audience that the man has gone a different route to the woman's house. He is shown outside, assembling a large camera with a telephoto lens like a rifle. He then darts behind the house as the camera cuts to a shot of the woman entering the bathroom on the top floor. As she looks at herself in the mirror, she hears the faint sound of a camera shutter and looks round in alarm. She then hears three more shutter sounds, each louder than the previous one. Finally we hear a gunshot.
I think my ideas were solid but need developing, especially the first one. I would also need to think about how exactly I would film them, as filming some of the shots in the second idea could be tricky.
My two classmates also shared their ideas. I thought that Kayleigh's first idea was very suspenseful (if a little clichéd) and would be a safe option to go with, especially as it would be relatively straightforward to film. I really like Kayleigh's second idea, with the masks being very unnerving (very Eyes Wide Shut-esque) and the dramatic irony as well. Again, it would be quite straightforward to shoot and would allow easy manipulation of lighting and sound.
I thought that both of Christoph's ideas were really interesting. The ambiguity and how the audience is left in the dark in the first one is really intriguing. It still keeps the viewer's interest, however, as there is a lot going on and the action is intense. It could potentially be quite difficult to film and get all the elements such as sound right as it is so dense but it is certainly doable. The second idea really stood out for all of us and is the idea we eventually we decided to go with as the basis for our opening. I really love the location as the DLR around the canary wharf area at night can look really beautiful. It was also very suspenseful and left the viewer with a great deal of intrigue and an urge to find out more. Hopefully it will turn out to be a thrilling, aesthetically competent, fluent opening.
The concepts I came up with are as follows:
The first was three simultaneous story-lines which all centred around drugs. A man is shown sitting at a café and is approached by a second man. The second man is shown tucking a package into a newspaper and he sits down opposite the man in the café. He says nothing and slides the newspaper over towards the first man. We then cut to two teenagers walking down a road. A police siren is heard and one of the boys looks very concerned. He darts into a nearby public toilet.We then cut to a woman snorting a line of white powder. She then rings somebody and asks for "some more". We show here waiting for a few hours before she goes to leave. However, just as she is about to leave somebody knocks slowly and ominously on the door.
The second began with an establishing shot of an office before centring on one employee. He is about 30 and is an average-looking man. He is shown interacting briefly with a fairly attractive woman also working in the office who is about the same age as him. We then cut to the end of the day and the man and woman are leaving together. They say goodbye and go separate ways. As soon as the woman is out of sight, a look of urgency comes across the man's face and he begins walking briskly. We show him making his way towards a destination whilst simultaneously showing the woman catching the bus home. Through this it is made clear to the audience that the man has gone a different route to the woman's house. He is shown outside, assembling a large camera with a telephoto lens like a rifle. He then darts behind the house as the camera cuts to a shot of the woman entering the bathroom on the top floor. As she looks at herself in the mirror, she hears the faint sound of a camera shutter and looks round in alarm. She then hears three more shutter sounds, each louder than the previous one. Finally we hear a gunshot.
I think my ideas were solid but need developing, especially the first one. I would also need to think about how exactly I would film them, as filming some of the shots in the second idea could be tricky.
My two classmates also shared their ideas. I thought that Kayleigh's first idea was very suspenseful (if a little clichéd) and would be a safe option to go with, especially as it would be relatively straightforward to film. I really like Kayleigh's second idea, with the masks being very unnerving (very Eyes Wide Shut-esque) and the dramatic irony as well. Again, it would be quite straightforward to shoot and would allow easy manipulation of lighting and sound.
I thought that both of Christoph's ideas were really interesting. The ambiguity and how the audience is left in the dark in the first one is really intriguing. It still keeps the viewer's interest, however, as there is a lot going on and the action is intense. It could potentially be quite difficult to film and get all the elements such as sound right as it is so dense but it is certainly doable. The second idea really stood out for all of us and is the idea we eventually we decided to go with as the basis for our opening. I really love the location as the DLR around the canary wharf area at night can look really beautiful. It was also very suspenseful and left the viewer with a great deal of intrigue and an urge to find out more. Hopefully it will turn out to be a thrilling, aesthetically competent, fluent opening.
Monday, 7 November 2011
Prelim
This is my preliminary task. The task was to show someone opening a door and walking into a room with a match on action before crossing the room, sitting down and having a short conversation with the person opposite them. I think I managed the match on action well as well as the rest of the editing and it mostly looks quite smooth. However, the shot/reverse shot of the conversation doesn't look quite right. I believe this is because I broke the 180 degree rule which is illustrated here: 
The sound is also not perfect. There is a hiss of unwanted ambient noise in the background and the levels vary between shots. This is because I was using an on-camera microphone. In terms of the environment, I was in a narrow room with lots of carpeting, so this would be as good as it gets. Therefore, when I record in less suitable environments with worse acoustics and more ambient noise, I need to make sure that I am using a suitable microphone that will record good sound.
The sound is also not perfect. There is a hiss of unwanted ambient noise in the background and the levels vary between shots. This is because I was using an on-camera microphone. In terms of the environment, I was in a narrow room with lots of carpeting, so this would be as good as it gets. Therefore, when I record in less suitable environments with worse acoustics and more ambient noise, I need to make sure that I am using a suitable microphone that will record good sound.
Sunday, 6 November 2011
Audience Research
Yes. 30
No. 0
This result suggests that films are universally popular. We did ask a range of age groups but the majority were in the 16-25 range.
2) Where do you watch your films?
Cinema 17
DVD/Blu-Ray 17
Television 12
Online/iTunes 17
Cinema, DVD and online downloads appear to be the most popular ways to watch films. The reason that downloads are now as popular as going to the cinema may be because the 16-25 age group that watch the most films are taking advantage of the large amount of films available to download illegally.
3) How many times per week do you watch films?
Once a week 16
Twice a week 8
Three times a week 5
Four plus times a week 1
Once a week appears to be the most common film-watching frequency with only a small amount of people watching three times a week or more.
4) Which cinemas do you go to?
Arthouse 16
Multiplex 20
West End cinemas 2
City centre cinema 4
Considering that most of the people we asked lived in the suburbs, it is not surprising that they mostly visited arthouse and multiplex cinemas which are generally placed in suburbs. I think to get a better idea of which cinemas are most popular we would have to ask people in a range of different areas.
5) What food/drink do you get when you go to the cinema?
Sweets 13
Popcorn 16
Fizzy drinks 8
Nothing 6
Hot food 0
A lot of people buy popcorn and sweets as they are the classic cinema staples. A surprising amount of people buy nothing but that could well be because they buy food beforehand as the food in cinemas is generally quite highly priced. Food and drink contribute greatly to a cinema's profit.
6) What persuades you to see a particular film?
Word of mouth 21
Critical reception 15
Advertising 14
Favourite actors 19
Favourite directors 9
Word of mouth seems to be a very common way if persuading someone to see a film. This is probably because people trust their friends' taste from whom they generally receive word of mouth recommendations. Favourite actors was also high probably due to people being familiar with the actors and that helping them to enjoy the film and know that there will be a certain degree of quality because of them.
7) What kinds of films do you prefer?
Rom-com 17
Science fiction 16
Thriller 24
Musicals 8
Horror 10
War 16
Drama 15
Comedy 23
Thrillers, comedies and rom-coms were very popular, possibly because people like to use films as a way to relax and as a form of escapism and don't necessarily want to watch something as cerebral as war films or dramas quite as frequently as comedies etc.
8) What do you like about thrillers?
Fast paced, clever, suspense, action, realism, escapism, plot twists, thought provoking, ambiguous, interesting, exciting, stylish.
9) Do you have any favourite actors? If so, which ones?
Blake Lively, Tom Hardy x5, John Cusack x2, Megan Fox, James Franco, Leighton Meester, Beyonce, Ashton Kutcher, Ryan Gosling x4, Robert de Niro, Dustin Hoffman, Al Pacino, Kirsten Dunst, Sofia Coppola, Christian Bale x2, Gene Hackman, Matt Damon, Morgan Freeman, Tom Selleck x12, David Lynch, Daniel Day Lewis, Chris Tucker x2, Malcolm McDowell, Britney Spears, Jack Nicholson, Tom Sizemore x2, Mark Ruffalo, David Cross, Clint Eastwood, Mark Paul Gosselar, Val Kilmer, Jim Caviezel, Nick Nolte x2, Seth Rogen, Jay Baruchel, Jason Segel, Kristen Bell, Paul Rudd, Steve Coogan, Bill Hader, Michael Cera, Jesse Eisenberg, Anton Yelchin, Tom Hiddleston, Owen Wilson x3, Steve Carrel, Tom Cruise, Zoe Saldana, Robert Downey Jr, Maggie Gyllenhaal, Jake Gyllenhaal, James Caan, Michael Fassbender x2, Benedict Cumberbatch.
There is quite a wide variety of favourite actors although a lot of them can be grouped together into similar roles. There are the young, attractive girls, the attractive, charismatic leading men and the comedians.
There is quite a wide variety of favourite actors although a lot of them can be grouped together into similar roles. There are the young, attractive girls, the attractive, charismatic leading men and the comedians.
A Clockwork Orange Opening
A Clockwork Orange begins with a short title sequence which is followed by a 15 second close up of the protagonist. This immediately establishes a protagonist and suggests that we will be following this character closely throughout the film and that it will be about him and his actions. A synthesiser plays an ominous score which gives the film a dark tone but also suggests that it is not a contemporary setting. This becomes more obvious when the camera slowly zooms out and reveals that the protagonist, Alex, is in a milk bar with he and his friends all dressed in white with black hats. The nude mannequins dotted around the milk bar in provocative positions suggest the film will have a sexual tone. We hear Alex doing a voiceover in which he suggests that they are drinking spiked milk and will proceed to go and be violent towards people. We can see that the film is dealing with mature themes and that violence and sex may be important parts of the film. There is a lot of white and black colouring in the milk bar which matches with the dress of Alex’s group and makes them seem at home there. It also makes us focus on those characters.
Suddenly we cut to a close up of a homeless man’s hand holding a bottle of whisky. An empty bottle of whisky beside him and some scraps of food suggest he is an alcoholic and living a squalid life. Once again, the camera zooms out to show that the homeless man is in a dark underpass lit only by what seems to be light from streetlights streaming into it. This makes the homeless man seem very isolated. We then hear footsteps and long shadows appear, half covering the homeless man. This is very ominous and suggests that these people are going to confront the man and he seems even more isolated.
We then cut to a reverse shot in which we see Alex’s and his “droogs” approaching the man with a cocky swagger, holding weapons. This long shot carries on showing the long shadows projected by the gang, prolonging the ominous tone. The scene is still only lit by harsh, blue-ish lighting from behind Alex and his droogs.
As the homeless man finishes singing his drunken song, we cut to a closer wide shot of the gang and the homeless man as they sarcastically clap him. The editing remains very slow paced, adding to the ominous tone. The homeless man is lying on the ground while the gang stand in front of him in a very weighted frame, making him seem defenceless and vulnerable. He asks for some change to which Alex prods him forcefully with his cane.
We switch to a more intimate, high-angled mid shot as the homeless man tells him Alex should just kill him as he doesn’t want to live in a world where the young attack the old like they are doing. As Alex questions him, there is a sideways close up on Alex’s face as he looks down at the old homeless man. We see his breath illuminated by the blue light which is almost scary as this ominous tone seems to emanate from him. We cut back to the old man as he laments about how there is no more law and order before cutting back to the close up on Alex as a maniacal look comes across him. We then cut back to the reverse long shot as the gang shout as they beat up the old man with canes and chains, illuminated from behind by the harsh blue light. We stay on one shot for the beating up of the old man which suggests that this is a normal thing for Alex and his droogs and is not a panicked frenzy worthy of fast paced portrayal.
Overall, all the elements of the opening create a dark and ominous tone that suggest that themes of sex and violence will run throughout the film. Just before we reach 5 minutes in, we see the beginning of another gang raping a young girl which obviously adds to this. The strange costumes, music and dark colours and tones suggest a dystopian setting. The gang, dressed in white, stand out against this but it’s more as a tool for us to focus on them more than to make them seem positive in comparison. They appear to revel in the darkness, almost enjoying the dark irony of their dress.
Wednesday, 5 October 2011
Film Openings
Casino Royale
-Location established by text (spy/thriller archetype)
- Black and white makes the scene more gritty and ominous
- High and low angles of man give us distorted view of him, suggest he may be duplicitous etc.
- POV shot in room builds tension
- Flashback cuts suspense with action, keeping audience on their toes
- Music is eerie and builds tension
- Hero is cool and collected despite murdering someone
- Continuous threat of death
- By the first few words, we are immediately thrown into the world of espionage
- Sudden changes from quiet to loud is "thrilling"
- In fight scene, the camera is right in there with the action
- ECU of Bond's face during the killing is intense
Casino Royale Opening (Embedding disabled by request)
Collateral
- Lots of CUs on action immerse the audience straight away
- Shallow depth of field focuses on action
- Sound bridge at the beginning takes us straight into it (in media res)
- Very audible footsteps build tension
- Establish setting and foreshadow events by showing NY taxi
Collateral opening:
Shifty
- Introduced to 4 characters, intriguing
- Drugs are quickly introduced, illegality is thrilling
- Build up to opening of the door builds suspense and tension
Shifty trailer:
London to Brighton
- Location and time immediately established, precise time suggests time is important and the characters are against the time
- We see a small girl which, given we were just told it was 7 past 3 in the morning, makes us ask questions
- Violence is evident. Again involvement with small child is shocking and intriguing
- First scene set in public toilet, seems dirty
- Harsh strip lighting
- Mother is hysterical, angry, aggressive - something bad must have happened
- It becomes apparent that the mother is a prostitute
- Ominous mentioning of Derrick - mother assures girl he's not on the train
- Lots of CUs - intimate, scary
- Wide shot as they run across station, makes them seem vulnerable and out in the open
- CU on chips in bathroom emphasises dirtiness of bathroom - not somewhere ideal for a meal
- Shaky camerawork on train
- Whip pans
- No sound bridge at start - in media res
- Sounds of train amplified
- Naturalistic lighting
London to Brighton trailer:
Pulp Fiction
- Begins with a couple sitting in a diner speaking very matter-of-factly about their occupation as robbers for about 4 minutes
- Shots comprised mainly of two-shots and POVs, conversation seems quite mundane despite subject matter
- They decide it would be a good idea to rob the restaurant they are in and immediately start doing so, pulling out a gun and screaming at the customers - a stark contrast to the preceding 4 minutes
- Faint ambient sound of other customers talking, music playing lightly and the clinking of crockery, the substantial sound heard apart from the two characters talking is the man slamming the gun down on the table which cuts right through the low-key, mundane mood
- Man is wearing a hawaiian-esque shirt, making him seem carefree and easy going despite him initiating a robbery
- They share a kiss before starting the robbery - contrast between standard couple and criminals, shocks viewer
Pulp Fiction Opening:
-Location established by text (spy/thriller archetype)
- Black and white makes the scene more gritty and ominous
- High and low angles of man give us distorted view of him, suggest he may be duplicitous etc.
- POV shot in room builds tension
- Flashback cuts suspense with action, keeping audience on their toes
- Music is eerie and builds tension
- Hero is cool and collected despite murdering someone
- Continuous threat of death
- By the first few words, we are immediately thrown into the world of espionage
- Sudden changes from quiet to loud is "thrilling"
- In fight scene, the camera is right in there with the action
- ECU of Bond's face during the killing is intense
Casino Royale Opening (Embedding disabled by request)
Collateral
- Lots of CUs on action immerse the audience straight away
- Shallow depth of field focuses on action
- Sound bridge at the beginning takes us straight into it (in media res)
- Very audible footsteps build tension
- Establish setting and foreshadow events by showing NY taxi
Collateral opening:
Shifty
- Introduced to 4 characters, intriguing
- Drugs are quickly introduced, illegality is thrilling
- Build up to opening of the door builds suspense and tension
Shifty trailer:
London to Brighton
- Location and time immediately established, precise time suggests time is important and the characters are against the time
- We see a small girl which, given we were just told it was 7 past 3 in the morning, makes us ask questions
- Violence is evident. Again involvement with small child is shocking and intriguing
- First scene set in public toilet, seems dirty
- Harsh strip lighting
- Mother is hysterical, angry, aggressive - something bad must have happened
- It becomes apparent that the mother is a prostitute
- Ominous mentioning of Derrick - mother assures girl he's not on the train
- Lots of CUs - intimate, scary
- Wide shot as they run across station, makes them seem vulnerable and out in the open
- CU on chips in bathroom emphasises dirtiness of bathroom - not somewhere ideal for a meal
- Shaky camerawork on train
- Whip pans
- No sound bridge at start - in media res
- Sounds of train amplified
- Naturalistic lighting
London to Brighton trailer:
Pulp Fiction
- Begins with a couple sitting in a diner speaking very matter-of-factly about their occupation as robbers for about 4 minutes
- Shots comprised mainly of two-shots and POVs, conversation seems quite mundane despite subject matter
- They decide it would be a good idea to rob the restaurant they are in and immediately start doing so, pulling out a gun and screaming at the customers - a stark contrast to the preceding 4 minutes
- Faint ambient sound of other customers talking, music playing lightly and the clinking of crockery, the substantial sound heard apart from the two characters talking is the man slamming the gun down on the table which cuts right through the low-key, mundane mood
- Man is wearing a hawaiian-esque shirt, making him seem carefree and easy going despite him initiating a robbery
- They share a kiss before starting the robbery - contrast between standard couple and criminals, shocks viewer
Pulp Fiction Opening:
Wednesday, 28 September 2011
Part 1 - General Introduction Questions
Q1. Why is convergence both a blessing and a curse for the UK film industry?
Convergence presents many benefits for the UK film industry. First off it can greatly increase the amount of money that a film makes by making a film accessible to a larger audience. For example, a film based on a book already has an audience of all the fans of the book. Likewise when a film is based on a comic such as Spider-Man, any fans of the comic are likely to go and watch it. This also means that there will be more word of mouth for the film even before people have seen it as it already interests a great number of people regardless of the end product. Video games based on films are also common such as Quantum of Solace, a video game made based on a British film. This means that there's an even bigger audience consuming the film.
However, convergence also means a huge rise in popularity of digital media and the downloading of media. This means it is very easy to download any film you might want to see illegally over the Internet. Thus, UK films don't make as much money in DVD sales etc. and less money gets circulated back into the UK film industry.
Q2. How has the Internet allowed film-makers to find and attract audiences in different ways?
Popular Internet institutions such Youtube and Facebook allow film-makers to reach out to specific audiences. For instance, many Youtube videos have adverts these days, and if a film studio wishes to reach out to a younger audience then they can purchase ad space on the videos most popular with youths. Google also helps out film studios as it will monitor your searching and then provide adverts related to your searches. For example, if you were to search "action movies", a Die Hard advert may come up.
Q3. Summarise how you think sites like YouTube, Spotify and Facebook are good for film audiences. What do they let us do that we couldn't before?
Sites like YouTube, Spotify and Facebook allow users to share and indulge their interests instantly. If one wants to view a trailer for a film, they can go straight onto YouTube and watch it. They can then share it with their friends on Facebook, while listening to their favourite film soundtrack on Spotify. This means we can find what we want and are interested in very easily and have much more choice in our selection of media we choose to consume.
Convergence presents many benefits for the UK film industry. First off it can greatly increase the amount of money that a film makes by making a film accessible to a larger audience. For example, a film based on a book already has an audience of all the fans of the book. Likewise when a film is based on a comic such as Spider-Man, any fans of the comic are likely to go and watch it. This also means that there will be more word of mouth for the film even before people have seen it as it already interests a great number of people regardless of the end product. Video games based on films are also common such as Quantum of Solace, a video game made based on a British film. This means that there's an even bigger audience consuming the film.
However, convergence also means a huge rise in popularity of digital media and the downloading of media. This means it is very easy to download any film you might want to see illegally over the Internet. Thus, UK films don't make as much money in DVD sales etc. and less money gets circulated back into the UK film industry.
Q2. How has the Internet allowed film-makers to find and attract audiences in different ways?
Popular Internet institutions such Youtube and Facebook allow film-makers to reach out to specific audiences. For instance, many Youtube videos have adverts these days, and if a film studio wishes to reach out to a younger audience then they can purchase ad space on the videos most popular with youths. Google also helps out film studios as it will monitor your searching and then provide adverts related to your searches. For example, if you were to search "action movies", a Die Hard advert may come up.
Q3. Summarise how you think sites like YouTube, Spotify and Facebook are good for film audiences. What do they let us do that we couldn't before?
Sites like YouTube, Spotify and Facebook allow users to share and indulge their interests instantly. If one wants to view a trailer for a film, they can go straight onto YouTube and watch it. They can then share it with their friends on Facebook, while listening to their favourite film soundtrack on Spotify. This means we can find what we want and are interested in very easily and have much more choice in our selection of media we choose to consume.
Thursday, 15 September 2011
How to make an intelligent blockbuster...
What I've learnt about the film industry:
One important thing I have learnt about the film industry from reading Mark Kermode's excerpt is the pressure put on modern filmmaking to do well financially and how that can cause filmmakers to make films that pander to a modern audience. Studios also appear to use the media to build up a lot of hype for films and to draw audiences in, such as, on 'Pearl Harbour', circulating rumours like "Michael Bay quit the project four times over various budgetary disputes", suggesting to audiences that the amount of money put into the film was controversially excessive and thus the film would be fairly spectacular. This is also shown in a studio's reluctance to let any director make a project he feels strongly about without a strong record of success with other projects.
One important thing I have learnt about the film industry from reading Mark Kermode's excerpt is the pressure put on modern filmmaking to do well financially and how that can cause filmmakers to make films that pander to a modern audience. Studios also appear to use the media to build up a lot of hype for films and to draw audiences in, such as, on 'Pearl Harbour', circulating rumours like "Michael Bay quit the project four times over various budgetary disputes", suggesting to audiences that the amount of money put into the film was controversially excessive and thus the film would be fairly spectacular. This is also shown in a studio's reluctance to let any director make a project he feels strongly about without a strong record of success with other projects.
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