Storyboard

This is the storyboard for the opening of the film clip we created.

Time table for filming

We will film the interior shots on january the 10th.
We will film the first set of exterior shots on january the 15th and the second set on the 19th.
These are all times that are convenient for sam and also that have good weather conditions.

We now have official approval to use our song selection from the record company.

Costume design

Our costume design for the character of sammy was a relatively simple choice, as we knew we needed to portray him as a screwball character, this was easy to do by simply making him wear casual shoes, roughly put on tie and shirt not all buttoned up. He also sleeps with his skateboard, this makes the audience think that his priorates are on the skateboard which he sleeps with in place of his girlfriend.

His girlfriend is dressed in complete opposition to sammy, she is smartly dressed and tidy looking.

We have emailed the company that owns the music we intend to use asking for permission to use it.

Music choice

Our music choice was heavily debated, first we looked to gothic rock such as the ghoulies, of whom Chloe is a friend of the lead singer. We then decided that this would not be in keeping with the theme of the intro. We then looked to bands such as NOFX, less than jake and rancid. we then briefly considered Lupe Fiasco before finally settling on the wonder years - new years with carl weathers.

Juno intro analysis

 Establishing shot: This is the first shot for the film which is a tracking shot of juno walking along in a straight line. The camera is moving at the same speed as Juno which gives the feeling of us walking along with her. The shot being directly from the side is highly effective as it allows us to see the scenery around her whilst still focusing on Juno as the centre of the shot. After this Juno walks behind a tree and upon coming out the other side she is transferred in to a cartoon world.

 This shot is part of the ending sequence of the introduction to Juno and shows Juno transferring once more back into reality, this gives a really nice feeling to the intro as it shows Juno is no longer going through a 'dream-like' walk shot and now shows that things are about to get serious i.e: pregnancy test.

This shot shows Juno now in the cartoon world,
The titles are shown to be in an almost sketched
this accentuates the quirky and alternative feel to the film. This is the first time we encounter Juno and her boyish costuming, this is effective as it allows us immediately to accustom ourselves to Juno's personality.

Music/sound:

The music playing during the intro is Barry Louis Polisar- All I want is you, which is a kooky, country song, this further enhances the feeling of quirkiness.

Ex drummer intro analysis

This is a clever, Flemish film that follows the course of three disabled 'handicapped' men who are portrayed as 'losers' as they form a band and make the mistake of asking a famous writer to be there drummer, which ends badly.

 

Establishing shot: This is the first shot of the intro and shows the name of the production company on an everyday appliance that is operated by the characters within the film. This is highly effective and stylish and presents a strong feeling of interaction between the characters and the producing of the film.

This is another shot of the movie titles appearing on real life objects within the film, this time the actual movie title 'ES DRUMMER' appears in bold, capital letters on the door of an office. This is a clever use of mise en scene and gives an understated feel to the film.

This shot shows the three characters involved in the intro riding bicycles backwards, this is a lovely use of tracking and I'd really like to incorporate a feeling of this in my piece. It gives the idea of quirkiness to the audience and shows that this film is unique to 'normal' film-making or production techniques and that it's going to be different and refreshing.

Music/sound:

During Ex Drummers intro there is a voice over/narration present that is spoken in Flemish with subtitles underneith. The narration gives the feeling of an anecdote and really draws the watcher in.
The music that is playing is heavy metal, this contrasts with the long. slow, dragging feel to the intro and the dull, anaesthetic colours.

Costume research

Juno:

The costume in Juno, similarly to Eagle Vs Shark, is used to create a feeling that the character of Juno is your typical laid-back, teenage tomboy who doesn't really care about appearance, it also enhances the idea that Juno is quite an alternative and quirky character. The character of Paulie (Juno's boyfriend) is a lot more feminine than Juno, this creates humour and binary opposition between the two as well as straying from the ideologies society usually sees as a norm when it comes to the male being masculine and the female feminine. Paulie is dressed throughout the film, mostly, in his track kit which consists of colour coded yellow shorts, headband, wristbands and socks all topped off with a red top. This shows off Paulie's femininity and almost weakness within his character. He also looks quite 'silly' which adds to the audiences view of him as a comedic character within the film.        

Eagle vs shark:

Juno shot analysis

 In this scene we can see the use of the colours (red and yellow, which are in almost every shot in the film) with Juno wearing red and Paulie wearing his track kit. Paulie also tends to appear on the right of the screen with Juno on the left, this shows binary opposition and also creates a symmetry which helps lead the viewers eye to the focus points in shot.

Once again Paulie appears on the right of the screen and juno is on the left. juno is wearing masculine clothes while Paulie is in feminine attire. The colours red and yellow are used again in this shot, with Paulie's tracksuit and Juno's coat. Paulie is taller than Juno, this shows his position as a supportive character, this is exaggerated by his hand being on Juno's stomach, where the baby is.

This scene is of Juno walking through the school corridors with her 'baby bump' showing, she is obviously being judged by the students, shown by the conscience corridor they form. This is shown to be intimidating towards Juno as she obviously has her head down, possibly out of shame. Once again the colour red us heavily used in this scene, mainly in the middle and upwards towards both sides, this forms a triangle of red, further exemplifying the intimidating feel of the shot because of shape.

The Devil Wears Prada shot analysis

This shot is from the scene in which the main character goes to a fashion designer for guidance, there is binary opposition here in various senses, such as amount of focus they are exhibiting on their work, the amount of fashion sense the man seems to posses compared with the plainly dressed woman, all this implies that the man is comfortable in his surroundings. The mies en sane is interesting because it is clearly the office of the man, who is proud of his job and keeps everything organised and tidy. One subversion of the binary opposition is the genders of the characters, obviously one is a man and one is a woman, however, the man is homosexual and stereotypically displays excessive femininity in a calm, collected sense. This makes him more feminine than the woman  in this scene, as she is panicking and thinking of giving up (typically things men are portrayed as doing) while the man is calm and composed.

This shot shows the boss of the main character as she is looking at the main character for the first time and eyeing her up. She is shown as powerful and confident. her clothes are dark and imposing, which contrasts with her hair with is bright and striking. The way she is taking her glasses off is almost dismissive, as is the look on her face and the way she is looking up from her paper, as if she has better things to do.

This shot is of the main character out of her work clothes and unwinding at home, her face is made to be more attractive than when she is at work, this implies that her true value as a person lies outside of the fashion industry. This is an over the shoulder shot, this makes it seem more personal and intimate.

500 days of summer shot analysis

This shot portrays the main character's boredom with his day to day job, he is smartly dressed, implying he has a content, or even affluent, life in a material sense, however the look on his face implies dissatisfaction in another sense. this foreshadows him falling in love easily later in the film. backing up the idea of him being bored, most of the meise en sane is shades of grey and other boring colours, contributing to the concept of boredom in his life.

This is a typical example of a "meet cute" situation. The two main characters meet in an elevator and the woman overhears the music the man is listening to. this is a very popular kind of meet cute situation. this shot is a example of binary opposition (with the line behind them dividing the two characters) however this is subverted by them looking similar, with noticeable changes (apart from obviously gender) which alludes to the two character's polar opposite ideas concerning the subject of love. the colours of this scene are slightly more homely or welcoming than the pervious shot, implying summer brings vibrance into the man's life.

This scene is immediately after the news is broken that the woman is marrying another man. The ultimate subversion of the romantic comedy genre, furthermore exemplifying this, the park bench is a heavily used meet cute location subverting the idea further. both characters are dressed in an extremely adult manner, implying they have both grown up over the corse of the story. they are on opposite sides of the shot than the shot above, symbolising how there ideologies concerning love have swapped over the film. Finally, the colours in this scene are far more mature than the previous shots, completing the progression of the colours from bored, to vibrant, to grownup. similar to the plot of the film itself.

Costume planning:
we will not require much costume planning for this piece, as both characters that appear on camera will be wearing school uniform. Sam (the skater) will be dressed scruffily (tie somewhat undone, skater shoes, ect, ect) this will present his role as the screwball character in the narrative. On the other hand the man character's girlfriend will be extremely smartly dressed as this will highlight her higher level of status within school cliques and also her formality which will be in binary opposition to our main character. this will accentuate the issue's in their relationship in a visual format.

Planning

We have decided to sort our planning into three parts, firstly our main character waking up at his house, then him skating to school, then lastly him meeting his love interest and walking into school with her. we will split our story boarding into these sections then do the same for editing, this will allow us to micro manage and provide adequate contrast with each of the sections thematically.

We have decided to film the clips chronologically and all in one day,  this will remove the possibility of continuity errors and ensure there is lots of time for editing, of which lots will be required for a film that includes mostly skating.

We have organised a main character, a car (for long tracking shots and general transportation) and what day we will be doing all the filming.

long tracking shot along the seafront

Tracking shot from a car with titles along the road, when the skater turns out into another road the car with the camera carries on.

still shot from the bottom of the hill at the slow section of the music track.

A history of the romantic comedy
The term romance started being used in medievel times in europe to describe a sitation that is idealistic, often stories from this period would refer to a hero rescuing a lady or "damisil in destress". Early shakesperian plays would incorperate elements of this and often expand on them with an openness to sexual themes. In the 20's in america and england a genre of film named screwball comedy where introduced, these films where lighthearted and funny, often they would explore themes of class divide, or humorus situations that the portagonists would have to save themselves from. later, in the 60's/70's romantic love elements where incorperated, most famously in the film pretty woman, creating the romantic comedy genre we have today.