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Fight Club (by David Fincher 1999): Title sequence deconstruction.

Titles: Throughout the whole sequence the titles appear in a chemical blue flash and then fade out for the next one. As the titles continue to appear the camera starts to fly backward through synapses and the inner workings of the brain (CGI) gradually moving towards a one to one scale of a crazed mans face with a gun in his mouth. The use of the chemical blue colour really portraits the nervous system well, whilst suggesting the film is going to be psychological and contain scenes that are electric. It also provides an excellent example of a symbolic sequence that shows what is going to come in the film. It acts as a foreshadowing of events. The events are not always obvious but are subtle hints about character, theme and the mood of the film.

Sound: There is a frenetic soundtrack which shows a pulsing of the nervous system with a techno upbeat pulsating beat like a heartbeat increasing. When the camera protrudes through the skin there is a flare up in the music, breaking the surface. As the tip of the gun appears the music dies down and as the camera tracks down the shaft of the gun it builds up until the audience is looking down the sight at the man. As the focus switches to the mans face the music reaches a climax and then cuts out completely to be replaced by his voice narrating the

scene. Another character starts to speak as an ambient street sound fades in, to which the man mumbles because of the gun pointed into his mouth. As the scene progresses we hear the sound of water dripping, a chair creaking as he turns and footsteps as the character moves across the room. The sounds echo to create the sense that they are isolated and there is no-one to help the man. Also, during the dialogue between the two characters the mans speech dips in and out of the conversation and his current thoughts which are aimed directly at the audience. As the man looks out the window the ambulant street noise increases in volume and when the camera drops violently down to street level there is a sound of rushing air and a low rumble to make the audience feel as if they are free falling.

Editing: Firstly the company Regency logo rolls by fading in and rotating around the x-axis and then fades out. Then the titles start to fades in with music. Throughout the title sequence the CGI of the inner brain is very dark and very stereotypically biological. This is good because the viewer can easily recognize what they are watching and it gives them an idea of what is to come throughout the film. The inner workings of the brain. This will be a psychological thriller. As we are flying through the brain the titles appear in a neon burst of colour (in correlation with the music) like the chemical diffusion between synapses. The titles are displayed for a short period of time before they diffuse into the background. The fact that the viewer has only a short period of time to take in

and process the information makes them want to pay attention and try to work out what is happening. Further into the title sequence the brain cells in the background start to slightly flash and pulsate in time with the beat. Afterwards the brain sequence fades out and the screen goes black for a few seconds apart from little specks of light travelling away from us to continue with the illusion that we are panning out. Then there is another short biological sequence of various tissues and cells from which we exit from the pore in the mans skin. The skin appears to have beads of sweat on its surface which suggests that this person is under a great deal of stress or pressure. The camera to continue to pan outward down his face ending up at the sight of the gun as previously mentioned. Up until this point the whole sequence is CGI and we are greeted with the first real scene we find a traumatized man staring at us with a black eye. Then it cuts to a shot of the same man with a gun pointed into his mouth. Afterwards it cuts to the same shot but from the gun holders viewpoint and then cut to another behind the gun holders right leg. The next shot is focused purely on the hostages face turning to the left. And finally it cuts to a shot outside the building looking in at the gun holder.

Camerawork: The starting title sequence involves the camera panning backwards out of the brain to the surface of his sweaty skin. It then continues to move microscopically down his face to his moth where it meets the barrel of a gun, which it then follows down the shaft to the sights. The focal range then switches to the previous out of focus face and draws it into shot. The next shot involves the hostage with the barrel of the gun pointing down his throat in a low position with the man holding the gun in the higher position. This indicates status within the shot and leads the audience to believe the hostage has no control over this event. The next shot is another portrait of the hostages slightly off centered face as the man pulls the gun out of his mouth. As the man continues to lower his gun-wielding arm the camera cuts to a shot behind his right leg involving match on action as the arm comes to a stop. This is done to create focus on the gun, which is the power and control in the situation. This shot then pans right to see the man walk off behind the hostage. It then cuts back to another portrait of the hostages poorly lit face turning to the left and finally the camera is located out- side of the building looking in on both characters with a mid-shot of the mans chest cutting off the top portion of his head.

Mise-en-scene: Throughout the whole sequence the two characters are located in a dark, damp, empty room high up in a tower block which is under construction. The walls behind the characters are large glass window panes which overlook grimy metropolis. The scenes are very lifeless due to the only light source being the street below and from the apartments opposite.

Conclusion: Due to our low budget we would focus on the actors and the acting rather than the CGI. One aspect I would use in my own production would be to start the sequence with the ending of the film to give the viewer a taste of what is to come. This has a cyclical feel to the film and it makes the viewer think and work out how the characters get in that situation. How do the events affect the ending?

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