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By Karim Assassi Aaron McCann and Muhammad Khalid
Focus pull distorts the view creating a dream-like/dazed effect. This in turn hints the surreal nature of the film and reflects the feelings of the main character. The colour immediately helps to establish a cold and un easy feel , we chose to use this at the start to help convey the generic feel of a thriller. A dark look created with the use imovie 09, we reduced the saturation of the shots to ³snatch the life´ from the shots. We found that this shot has not usually been used in teasers however we found it necessary to try something new, and audience feedback gained suggests that it worked well.
Following the focus pull technique we move onto a time lapse. Seeing the cars move at a sped up pace denotes the fast paced nature of the film. In addition to this the shot has been made dark to give off the dark ominous undertones of the film and the unreal danger that the journalist is in. With the shift in sound the shots make up changes to almost total darkness and a dark green tint is given off to portray the deeper danger and surrealistic feel of the film. The first two shots of the teaser hook the viewer very effectively and give the impression that nothing is as it first seems, which fits to the storyline of the film. We chose the colour green specifically instead of red as we wanted to symbolically show some of the emotions that lie beneath this story; envy, jealousy, evil.
Quick fades we found worked best to ³tease´ the viewer, hinting at theme and plot lines, to keep them on the trail of what's going on without giving away the whole storyline. Our product research suggests they are the most commonly used transition found in the more contemporary teaser trailers.
The slow motion shot of the antagonists¶ footsteps are used to create a sense of authority within our character. The slow motion allows the audience to observe a foot with no colour or design, very reflective of his simple, cold and dark nature.
This is a shot which has become highly approved of by our audience, the ³crucifix lane shot´ we found it to be an effective and symbolic use of mise en scene. Denoting a religious aspect of the film, perhaps a suggestion of self sacrifice.
Of course we had to identify the victim/protagonist, and portray him in a manner which forces the audience to sympathise for, or at the very least relate to. And thus the idea of the father-son bond was brought into our production. In this shot in particular we have tried to portray this bond symbolically and literally . As well as the visual smile on the protagonists face, the audience is shown trees behind him, metaphorically representing life, well being and strength«but the withering away of the tree helps to suggest something darker, something in the midst, to perhaps creep up on the father-son bond.
In this shot we see two dark figures meet and exchange an object un visible to the audience, this was done intending to cause a curiosity in the viewer. This swap takes place in front of a very suave white car, this reflects the nature of the antagonists, showing that they are at least wealthy individuals.
The repetition of the word ³ONE´ was intended to leave a mark in the viewers memory. Like a teaser should, these title slides give a vague outline to the contents of the film.
This over the shoulder panning shot worked extremely well as it gave a viewer insight into the world as seen by the antagonist. The beginning of the pan shows his head close up making him look huge in comparison to the size of the London skyline he is overlooking. The pan also works symbolically as a bird soars across the cityscape suggesting the antagonists link to a freedom related theme. Audiences enjoyed these denotations, however it was only noticed by the more active viewer.
This shot shows Aaron who is acting as a publisher in the film. These two shots portray to the audience that he is caring and is very family orientated. The shots of him holding the child at a height and balancing him on the walking plank could suggest to the audience that something catastrophic could happen to the child. This is further depicted to the audience as the next title slide after this shot is µOne Problem¶. This creates a sense of insecurity in the audience.
Audience feedback suggests that this is another successful shot. They enjoyed the speeding up of the cars and how the traffic fell in sync with the music we used . We sped up the pace of the shot to create a ³rush´ like feel; to replace the previous calm state with something more significant and attractive to the viewer. This is an example of a new technique that we learned during the A2 course (time lapse).
This shot shows the antagonist walking towards the camera in slow motion. We made sure he stayed in the middle of the shot so he is the main focus. As there were many people. The audiences concentration between what's in the shot can be easily swayed, we made sure that the soundtrack was in synchronisation with his walk. The drop of the soundtrack begins when the antagonist is shown. This emphasises his power, authority, and importance within the storyline.
The reflection of the shard is distorted in this shot. This use of mise en scene was intended to show that not every thing is as it seems. It gives off the idea of another world, one that is unreal and distorted. This very much reflects the nature of the protagonist/victim; confused and un clarified.
Introducing the director in this manner makes it as if the audiences should know this director. As if he has previously achieved. This makes the teaser attractive to the audience. Audience members suggested improvements such as ³from the Oscar nominee´ Etc. The font colour changes during the teaser, but specifically here to add significance to the fact that this is ³An Aaron McCann Film´.
This shot shows the antagonist walking away from the shard at a fast pace. We know it is him but don¶t get a chance to see him in great detail. This is reflective of the fast pace at which the storyline moves, and the events of the film take place.
As the antagonist passes the camera, the focus is drawn onto the shard reminding the viewer that there is a higher power at work behind the scenes as the focus is drawn away from the antagonist!
This Marco shot of the clenching fist took a while to achieve but was well worth the effort. As it was it was too dark to get the shot on its own. It was only achieved by shining a little light on the glove in order to bring out the detailing you see in the trailer shot. This shot was intended to highlight the aspects of conflict and danger of the film. This shot in particular was highly influenced by the matrix revolutions teaser trailer, this was a very short but powerful shot that we thought to develop. The leather glove helps convey the themes of the thriller genre; concealing of identity & hit-man stereotypes.
This shot is symbolic in representing our protagonists position in society and indeed the film. However this gives an element of mystery to the audience, just why has he been put in this position? Of what importance is this family orientated character?. The darkness and low angle of the shot helps to create the rush feeling we aimed for in this trailer as well as this the protagonist edges back towards the camera creating a sense of danger and urgency. However, audience feedback has suggested that it may have worked better if we could see slightly more.
This shot is suggestive to the sadness included in the storyline. As well as the rain which is the most obvious to the viewer because of the macro effect used. The shot also shows middle class homes, underneath a dark grey sky symbolic of the confusion and dismay.
Here the music starts to fall away as the title of the film appears. The film title RED PEN is intended to represent the danger associated with freedom of speech, and journalism
Here the sound drops and a dial-tone sound is placed in to add to the effect of helping them to remember this particular part given the release date of the film. This is also commonly found I teaser trailers .
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