Lighting Research

Along with research into thrillers themselves, I decided to do some research into lighting, so I was fully aware of what lighting I would need to do if I had to film inside. At this point in the production, I was using my original idea of the girl being inside the school - this has since changed into my more developed idea where none of the lighting was needed, as all filming was done outside. 

The location I chose to film in was Mitcham common, a place with plentiful natural lighting.

I preferred this lighting as opposed to harsher, artificial lighting as I believe the natural lighting makes the atmosphere even more unnerving to the audience; it makes the scene appear like it's a safe, peaceful area, in which you would go on a daily basis without worrying. This contrasts directly with the reality of the scene, which is quite eerie and creates more fear within the audience. They do not expect what seems like such a normal, safe place to hide such sinister happenings. 

Sound Analysis: Thrillers

SEVEN (OPENING AND OTHER SCENE): 

Transcript: Within the opening credits, non-diegetic music was used that involved unpleasant sounds; this causes unease within the audience, and a rather unsettled atmosphere. For example, the sound of paper being ripped could make the audience jump and increase the tension within the opening, as well as the sound spot of bugs crawling, setting the audience on edge and creating a sense of disgust. Within the actual opening scene, the ticking of the metronome brings order to the chaos, and makes the audience think that the detective knows something they do not. The noise of sirens is also a classic convention of a thriller, so the audience is able to distinguish the genre immediately. As well as this, the young detective keeps talking whereas the other is silent - this shows age divide and experience differences. There is an enigma code of what the older detective might be thinking about. 

Clip used (only one of them was available):

Transcript: Within this clip from Seven, there is a mix of diegetic and non-diegetic audio to enhance the scene. Starting with diegetic music, the sound spot of Morgan Freeman hitting the killer shows the force of the hit, and heightens the emotional atmosphere; it shows that Freeman is desperate for him to be quiet, and as he is generally such a calm and composed character this show of panic and unrestricted emotion is quite startling to the audience, making the scene even more tense to watch. The diegetic sound of Brad Pitt yelling whilst the killer talks quietly also gives a sense of chaos to the scene due to the binary opposition of their voices. The sound spot of Brad Pitt's footsteps also builds tension, as they are quite fast paced, showing his impatience and emotion - the audience doesnt know whether this built up anger is going to cause him to do something he regrets. The sound spot of the gun clicking also reminds the audience of it's presence in his hand, and causes greater suspense, as they realise he could use it to kill the man if he gets too worked up. After the man is shot, the switch to the helicopter scene is sudden and there is loud shouting alongside the noise of the helicopter; this accentuates the chaos that has now broken out due to what he has just done. this lets the audience know that this is a very dramatic thing and it will have consequences for him - it also emphasises the shock they feel, as it is such a sudden and harsh change in sound.

With the non-diegetic sounds, there is dramatic music that builds, creating a tenser atmosphere in which the audience is on the edge of their seats. The louder music that comes in when he discovers his wife was pregnant heightens the suspense and the grief he is experiencing, and also signifies to the audience that something big is about to occur.

Clip used:

 RUN (OPENING AND REST OF EPISODE ONE): 

• Sound spot of slap: typical thriller convention of violence against women, helps the audience to almost immediately distinguish the genre of the programme. It also gives a sense of shock right away, especially as the two characters are so young; they can't believe they're witnessing such violence in a youthful relationship. The sound spot itself accentuates the sound, and makes it seem harsher and more violent, increasing the impact of the shock on the audience. 
• Police sirens: also a thriller convention, and shows that the area they're in is quite a crime-ridden place. It also creates enigma code of what the police sirens could be for. 
• Alarm clock sound: shows repetition within her life, and is a loud, harsh interruption of what seems like the only calm time she has to be alone and comfortable.
• Yelling between male and female: heightens the tension within the atmosphere, as violence against women is a common convention in thrillers. 
• Dramatic music: increases the tension and pace of the scenes.
• Sad, slow piano music as Carol is alone: reinforces her loneliness and the fact she has to deal with things by herself, accentuating the sympathy the audience feels towards her. This makes her a more likeable character as we see her at a vulnerable point, where her vulnerability is pointed out and heightened. 
• Sound spot of Carol opening the beer: shows that alcohol is an important aspect of her life, and tells the audience that she is struggling as she turns to drinking after going through  a difficult or stressful time.  

Editing Analysis: Thrillers

V FOR VENDETTA: 

• Fast cutting to show action: increases the pace of the film and creates more suspense and drama.
• "People right now who don't want us to speak.", before the scene cuts directly to a shot of the people he's speaking about: helps the audience to establish whether the characters are good or bad. 
• Talks about the priest and then cuts to a shot of him: also helps to establish who the character is.
• After the autopsy scene, it cuts to them discussing people - "she's a doctor." 
• Shot fades from being Val's face to Evie's, linking the two characters: this worries the audience, as they assume that Evie could have the same fate as her. 
• Cuts repeatedly back to the man emerging from the darkness: reminds the audience constantly of who the villain is. As well as this, the theme of government is often prominent within thrillers, as well as law vs. order - the show of V going against the official leader highlights these conventions within the film. 
• Shots of normal people in between others talking: lets the audience know what is happening in the rest of the world, serves as a build up.
• Shots the audience has previously seen in the film are shown in a montage, showing that everything is connected: the audience are shocked to see the links between everything, and try to make sense of what they are seeing; the tension is heightened. 
• Shots of riots in a montage beside the dominos scene: accentuates the drama and tension and suggests that it is a big build up - the audience is on the edge of their seats waiting for what will come at the end of it.
• Quick cut to the man yelling: destroys the happy moment between V and Evie. 
• "He was all of us." is said before people begin to take their masks off, showing that he really was all of them: gives the audience a sense of revolution, alongside powerful emotion as they feel that "all of us" includes them, too.

SEVEN: 

• Montage of close-ups during the title scene: sets the atmosphere of something very tense and on edge, also suggests aspects of horror within the film, as well as making the audience uncomfortable due to the fact the whole image cannot be seen. 
• Cross cut to the other detective investigating the homicide and seeming to struggle - he needs the other man in order to solve it, and shows that they're both thinking about the same thing. 
• Has them talking about how strange the fingerprints are before cutting to the actual image: builds suspense due to the enigma code created.
• Fast cutting of dispatch shows action and urgency: this increases the pace of the film and makes the audience feel panicked due to the sudden movement within it. 
• Fast cutting is also used within another action scene. 
• Continuous scenes that revolve around his wife: suggestive foreshadowing that something might happen to her, worries the audience as they feel quite protective of her due to the vulnerable and pleasant side she's shown to them in the film.
• The flashing image of his wife's face: tells the audience what is going on in his mind, letting them into his head causes them to be more immersed within the film and like they are truly connecting with his character.  

Typography and Credits Analysis: Thrillers

I analysed nine opening credits in order to compare things such as:

• typography 
• placing of text
• how it links to the genre
• how it links to the potential narrative
• the colour of the text
• how it could be used in my opening

SEVEN:

• Credits don’t come up straight away: to not distract from the scene, showing it’s an introduction to important characters.
• Slightly flashing/distorted: hints to the idea of it being in the thriller genre, as it's quite eerie and disconcerting, which is the kind of atmosphere the people making the film might want to create. 
• The text moves around the screen: keeps the audience engaged and following the text. 
• Title gets larger: stands out from the rest of the text so that the audience knows it holds more importance. 
• Switches typography (actor’s names looked handwritten, seems more personal and could be showing that it’s the killers writing – it cuts between visuals of his notebook)
• Cuts between close up, disturbing visuals: hints to the potential narrative, as it creates a lot of enigma code - who is the person, what are they writing, etc. 
• Plain white text: so that the text stands out from the grimy background, and also isn't too garish.
• Mix of upper and lower case: shows disorder within the film.
• Some are over visuals and some are over black screens.

I could use some of the features of this film in my thriller - for example, the title is much larger than the beginning credits so that the audience know that it holds importance within the film. I also used plain white text; this was so that the text stands out but doesn't distract from the actual scene - I want the audience to focus on the relationship they are being given a perspective on.

MEMENTO:

• Plain blue text: easily visible 
• Capitals
• In the middle of the screen: it's the audiences main focus
• Same typography for the name of the film
• Over background visuals that are quite plain and not very interesting
• Polaroid going backwards through development: unusual, creates enigma code of what the picture is, why it's significant, and why it's going backwards
• Font and placement do not change 

Like in this film, I did not change the font or placement throughout the beginning credits - this was so that I did not distract from the scene I was showing the audience, which is essential to their understanding of the girls' relationship. 

PULP FICTION:

• Begins with a dictionary definition of the word pulp: creates enigma code right from the beginning
• Plain white text: doesn't want to distract the audience, just wants them to focus and read it.
• Visuals only in the beginning: introduces us to important characters, no text so as not to distract the audience
• Centre in yellow: quite a bright and cheerful colour, binary opposition of the scene that the audience has just witnessed, which creates humour.
• On a black screen
• Title moves up from the bottom left, different font in yellow and red
• Slowly moves away with another white font giving the actors names on top of the title
• Western-style font (title)
• Back to yellow font, moves up screen (same font as other actors)
• Production companies in one font, casting in another font so as to show that they are different.
  

OLDBOY:

• Plain white
• Lowercase
• Centre
• Looks typed up
• Lower left for the rest of it: purple/pink and quite opaque
• Comes in from numbers over visuals: hint that time might have something to do with it (hints at narrative and enigma code)
• Text spins like a clock: enigma code
• Typography moves back to centre over visuals of a clock: links to narrative and creates enigma code of why the time might be so significant

AMERICAN BEAUTY:

• Red text in the centre: connotations of red are danger and blood - hints that the genre may be horror or thriller and to do with murder
• Title in capitals: important and resonating.

A SCANNER DARKLY:

• Flashing capitalised in yellow, centre: yellow is quite a cheerful colour which contrasts with the scene of the man in distress - creates enigma code
• Off to the side, bottom left: suggests they are less important than the scene we are witnessing

DRIVE:

• Purple handwriting font: suggestive of themes within the narrative as it seems like quite a gaudy club style
• Centre
• No visuals at beginning: wants the audience to focus on the words
• Title in purple centre
• Same font and colour for rest of credits over visuals
• Goes in the middle when he is not in the shot so that it doesn’t cover his face.

FIGHT CLUB:

• Bright light around it: immediately catches the attention of the audience, plus hints to the narrative - it's quite dramatic 
• Capital letters in white/blue: easy to read
• Centre
• Over visuals, extreme close up through the man’s body: another hint to the narrative?

DONNIE DARKO:

• Two different fonts: makes the companies names stand out and get noticed
• In white over a black background: wants the audience to focus on the writing, or doesn't want to put in the text later as it would take away from important visuals.
• Centre: the main focus on the screen so the audience reads it
• Title at the top: appears when the actor leaves and stays over unimportant visuals.
• The text of the title: quite mystic, which could link to the narrative.

Lighting Analysis: Thrillers

GONE GIRL

In this first screenshot, we can see Amy lying down with barely any light on her face at all. This lack of light on her face portrays her as a sinister character. If the light was distributed onto half of her face, she'd have two sides to her - however, there is barely any light on her face, showing that she shows very little of who she really is to others, and that a large majority of her personality is hidden. This causes the audience to feel quite uneasy and uncomfortable about her. Due to the rest of the film, they know what Amy is like, and are most likely hoping that her husband does not fall for her tricks again.

In this screenshot, similar lighting is used on the husband's face - an attached shadow is on half of his face, whereas the other side is mostly in light. This differs from the light on Amy's face, as he his face is split pretty equally between shadow and light - this shows that although he too is multifaceted, it is not to the same degree, and when this conclusion is matched with the knowledge gained throughout the film, we realise he acts the way he does due to Amy's own behaviour. Therefore, where Amy's hidden personality makes the audience nervous, as they're not sure what she's going to do next, the hidden schemes of the husband make the audience feel more confident and reassured. It makes them think that he has something up his sleeve, and isn't going to let her win.

In this screenshot, the husband is positioned with light behind him - the source probably being a back light placed quite far away, producing fairly weak lighting. This use of such a light is soft, and presents the atmosphere outside of the room with Amy in as quite safe and welcoming. This juxtaposes with the room she is in; her room is dark, and will be pitch black once he shuts the doors completely. This could show the true reality of her character - perhaps the idea that there is no light to her at all. The audience are, at this point, convinced of Amy's evil personality. It also reinforces to the audience that being away from Amy is much safer than being around her. The light source being behind him could also hint to the audience that the safe, normal world is behind him, and he has turned his back on it. Now, he is stuck with Amy, and thus cannot go back to it.

In this screenshot, the light coming from the ground floor of the house creates a cast shadow of the banisters on the wall - this creates bars, almost like that of a cage. When he passes them, his own shadow is cast among the bars. This presents him as being trapped or imprisoned by Amy - except the restraints aren't physical, they are psychological. He is trapped, but not visibly, so he cannot get help. He has no choice but to stay in the situation he has been forced into, with no escape. This makes the audience feel a degree of sympathy for him, as he has no means to get away from his wife.

The lighting in this shot allows the audience an insight into what he might be thinking, and what he might be feeling. He's in the corner, with light above him - this could show that he craves safety, and wants to get away from the darkness that Amy carries with her. However, his face is almost completely in darkness; this could tell the audience that he has to do something very bad in order to be safe and free from her. This creates enigma code, as the audience is left to think about what he might do, or what he's thinking of. The audience therefore may feel sympathy for him due to the position he's in, and the fact he's being forced to go to such extremes when he isn't a bad person.

I won't use these lighting techniques in my own thriller opening, due to the fact the filming is done outside - but the use of the dark places to imply a lack of safety and foreshadowing that bad things are going to happen (e.g. in the woods) will be something for me to explore by seeing what the natural lighting is like in the location at different times in the day.

DRIVE

The lighting in this shot is sparse - there's just enough of it to see that he's in a car, which highlights immediately the location of the shot, and shows the audience that this might be an important part of his life, or the film in general. The attached shadow on his face makes the audience think that he might not be all he appears to be; it suggests that he has a secret, or is a character with more dimension than we originally see.

This shot is similar to the previous one, but there is a lot less light; this suggests that the character could be almost completely in the wrong, considering he's entirely covered in shadows. The audience is hinted at that he could be involved with something immoral or bad, as innocent people are generally covered in light and thus shown to be open and honest.

In this shot, the lights are unusually low, and this amount of low concentrated lighting seems to cover the character's whole life. This suggests to the audience that he could be involved with something negative that affects his entire life, like crime or such. This increases the eerie feel of the environment, and also creates a more tense atmosphere, like the audience is constantly waiting for something bad to occur as a consequence of his negative involvement that the audience does not yet know about.

The carefully placed patch of light on his back accentuates the scorpion on his jacket. This creates an enigma code, as it draws our attention to it and makes the audience believe that it is significant within the film, and they want to know what it means or what it alludes to. The lighting make sure that nobody misses it, and it is definitely noticed by the audience.

This shot of his apartment is quite eerie and almost depressing; it's in complete darkness, unlike usual homes which have warm, yellow light throughout them. His apartment seems not at all welcoming or safe, showing that it isn't a place where he feels either of those things - welcomed or safe. This is quite sad for the audience, considering it shows the darkness reaches him even at home, and suggests that what he is involved with must be really serious.