Xara's Work Costume: 1

I chose to use this as costume because I needed her to wear clothes that would fit with her working in an office, so she therefore needed to look smart, however not too smart. The outfit that she is wearing in the photo does this.

Delicatessen

As I did my AS coursework on Mise-en-scene and sound I am going to use it as an example for what I aim to achieve with using Mise-en-scene:

      I have chosen to study a sequence in Delicatessen, 1991 directed by Jean-Pierre Jeunet and Marc Caro, France. The sequence starts at 12 minutes 44 seconds and finishes at 16 minutes 32 seconds. The stylistics I have chosen to study are sound and mise-en-scene and I aim to see how meaning is created through them.

      In my chosen sequence louison blows some bubbles for two boys who live in his apartment block. Julie Clapet climbs the stairs and greets Louison making him stop blowing bubbles, as he is distracted. Next Louison is in a room painting the ceiling, which he finds difficult and takes of his braces.  In another shot Clapet and Mademoiselle Plusse are on a bed kissing, they fall. We then see louison painting the ceiling but now attached to the wall by his braces. The image of the springs and louison is interjected with other shots of objects making various noises including Julie Clapet playing the cello, Marcel’s wife hitting a rug with a rug beater, her mother knitting whilst watching T.V and Marcel pumping up a bicycle tyre, a metronome and the toymakers at work. This continues with each shot getting shorter in length and the pace of the sound and action increasing as well until a climax where a cello string snaps, the bicycle wheel snaps and Louison falls over and all noise ceases.

      Throughout the film sound plays a very important part as it helps to produce certain reactions from the audience.

      The diegetic sound used in the first scene of my chosen sequence is very true to a real-life situation. All the noise created from everything we do is left in and you can hear footsteps, creaking doors and stairs and so on. It is emphasised by the lack of other sound, diegetic or otherwise. This exaggerated sound remains the focus for ten seconds quiet piano music is introduced and the action changes from everyday odd job work for Louison to a bubble performance for two boys. The music begins quite slowly and the pace doesn’t quicken much over the course of the scene before it slows fairly rapidly when Louison notices Julie Clapet, becomes distracted and awkward and say hello to her. The music, due to its speed and the fact that it has quite a high pitch and is rhythmical, creates a pleasant atmosphere. We have, previously in the film, learnt that Louison had come from the circus and so with his performance and also the music a nostalgic and romantic feeling is added to the scene as Louison’s happy expressions form a link with the music.

      The music starts to slow and fade when Louison realises that Julie Clapet has climbed up the stirs from the lower and is on the same floor as he is. The music matches the narration because we see that both Louison and Julie’s postures change and Louison stops what he is doing, he is distracted breaking the nostalgic spell that he has brought upon himself.

      When we are shown Clapet and Mademoiselle Plusse, Clapet makes low grunting noises. These are fairly animalistic as they are guttural sounds and they form a link with the fact that he is a cannibal, which is an inhumane act and very much similar to carnivorous animals. Such animals are often predators, which we see in Clapet’s personality as at the beginning of the film we see he him hunt down and kill his ‘odd job man.’ The next group of sounds, such as the squeaky bed spring, the cello, the rug beater hitting the rug, the knitting needles and so on and so forth all happen simultaneously. This creates the effect of an orchestra of household actions. There is a driving beat, which is the squeaky bed, which is always present and forms an aural link from shot to shot. Also, similar to an orchestra, different sounds are introduced at different times. The driving beat effects the pace at which the rest of the sound happens as the tempo of the squeaks increases so too does the tempo of the other sounds. All of the noises are diegetic. Which is why everybody in the sequence is aware of them and act accordingly around the main focus, the squeaky spring, the fact that it is the focus is emphasised by the editing because that shot is the most frequently used.  The tempo increase also creates the idea of there being a competition or race in which all who are making the noises are competing for the most speed or, in another situation on a broader scale, power. Clapet is the leader of everyone in the apartment, which is why he reaches his ‘climax’ first and the rest follow.

      Another important aspect of the film is mise-en scene. Jeunet and Caro play around with various filmic ideas to create a visual meaning. A motif in the film is the circle. We see this in almost every shot in the sequence. There is a circular light switch Louison is cleaning at the beginning of the sequence, as well as other circular shapes such as a door handle, a bicycle wheel the lights the springs and other things. One idea is that Clapet constantly hires an odd job man, whom he kills for food before hiring another for exactly the same reason. Another, especially in the latter part of the sequence could be that the inhabitants of the apartment block have to put up with Clapet and Mademoiselle Plusse’s antics. Either way, the circle implies that there is no escaping Clapet’s apartment block. The circle also comes in the form of the bubbles Louison is blowing. One of the bubbles that starts to go down the stair almost encases Julies face, this happens again a little later with Louison’s face. This could imply that they are in the centre of the vicious circle, or the lifestyle of those who live in the apartment block, and are the most important people in it, this is evident later on in the film, Julie is the one who enlists the help of the troglodytes and her and Louison are saved and come out on top of the others. Continuing with the circle motif, Louison blows a bubble filled with smoke and puts that with another bubble. Because there is a circle within a circle suggests that, again, the cycle is never ending. The smoke filled bubble in the centre could say that if the outer ‘bubble’ is burst, what will happen within the inner one is unknown because it is cloudy and we are not able to see through it, giving an air of mystery, of the unknown, you don’t know what to expect inside. This could imply that if the current ‘circle’ is broken there is no knowing what will happen next.

      The two boys sat on the stairs are wearing bright clothing; this could represent their characters, as they are mischievous and more adventurous than the other people in the apartment block. Their clothing compared to most others is busier, colour wise. This connects with their youthfulness and naivety about the world they live in. a prominent feature of their clothing is the stripes. This connotes stereotypical prison uniform, which shows us that the two boys are not as innocent as their youth suggests and are delinquent. This ties in with other behaviour of theirs in the film where they get up to rebellious and naughty acts. The boy on the left in the shot is wearing more distinct and less covered stripes, whereas the other wears a vest over the top. This implies that the boy on the left is further along in the process and is more likely to do something criminal.

      At the beginning of the next scene wee see Louison on some steps painting the ceiling. Above his head is a light. This could represent the idea he has about attaching his braces to the wall.

      Marcel’s wife is stood at the top of the stairs and is encased by the bars on the stairs. This suggests that she is trapped by the situation she is in. the film is set in a place where it would have been very difficult to do anything without any major trouble, so despite the barbarianism of the cannibalistic situation they are all in it was seen to them to be somewhat of a safe haven. Therefore they all were trapped, if they left they would be stuck in a macabre world of fighting and brutality, if they stay they have to live as cannibals. Her being trapped could be interpreted in another way. It could be that she is trapped and forced to listen and compete with the sounds of the squeaky bed. The Rug Beater she is using forms a visual link with the next shot as it is in the background in Marcel’s living room.

      All aspects of cinema used within a film are there to create a specific meaning that the director wants the viewer to pick up on and also to draw various emotions and feelings. Some things are used to create empathy or sympathy for a character and others to create dislike. All are used to, inevitably, provoke the preferred response and this done by using aspects of the viewer’s subconscious.

Delicatessen clip:

http://www.youtube.com/watch?v=XJU4IwC3LjQ

A Serious Man

Snow and dark night have a ominous connotation, hinting that something bad could happen.

There is a light between the Velvel and his wife, Dora. This is to show his enthusiam for the story he is telling his wife about Traitle Groshkover. After she has told him her side of the story, he is no longer enthusiastic and his story is not relevant anymore, this is due to what his wife has said, so she blocks out light.

The background in the couples house show what sort of lifestyle they have, there are no luxuries and it shows that they do not have a comfortable life.

As the camera pans towards the door the light becomes darker, this shows that what is on the other side of the door is covered in darkness in the sense that it is bad. The man behind the door is also wearing black which is a sign of evil. Again linking with the narrative, Dora calls the man a Dybbuk.

Link to A Serious Man clip:

http://www.youtube.com/watch?v=2bWlzQLLVlA

Burn After Reading

Basic mise-en-scene notes for the first 4:40 mins of Burn After Reading:

Map zooms from a large span into one small area in America,  this shows how insginificant this place is and also links with the fact that it is an irrelevant secret is found out by two also insignifcant members of the public. There is a link between the narrative and the way the loaction is introduced.

Writing for the opening credits is similar to the type of writing used when telling people in the secret service their missions. This again ties in with the narrative as the film is connected with the CIA.

The long corridor that Ozzy walks down is long and bare, this shows that he is unaware of what he is heading into, however it also creates a sense of something untoward is about to happen, that is not very good.

Wall art in the office is to show what sort of building they are in, the CIA, and it also links with how Ozzy feels about his dismissal from his task, he claims it is political, and on the walls there are images of political figures.

In the office Ozzy is placed so that he is near the door, this is to symbolise the fact that he is being kicked off the job.

There is an image link between the conversation in the office and the next scene in that the excuse for Ozzy's dismissal is that he has a drinking problem. In the next scene there is a shot of an alcohol bottle. This is not just a link but also it is to show that their is truth in the allegation and to give the audience an idea about who he is.

Link to first 9:27m of Burn after reading, up to 4:40m is relevant:

http://www.youtube.com/watch?v=6WncMIahz18&feature=related

Location

I will be filming the final scene of my sequence on Jameson street as it is one of the main streets in Hull city centre, and is also very busy, which is important for when I am doing my editing, as I need to make it look as though when two people cross in front of Xara there is a time lapse, skipping a span of time, I am likely to achieve this effect on such a busy street.

Location

The location for the bus will look similar to these:

I will be filming on a stagecoach bus, however the bus will be busy with a lot of people, of different ages. The reason for this is to show the contrast between the way Xara is expected to live and how she is living. Despite having a well respected job, and having friends who are wealthy and also have high expectations for Xara. They all have their own cars and plenty of money. However Xara has to travel by public transport to work. Thsi shows how she is trying to appear as though she is on the same level as her firends are in terms of money and occupation etc. however she is not there yet. This also links with a later part in the film, when Xara's friends no longer want to associate with her. A reason for this is that she doesn't quite fit with her friends expectations, e.g. not having her own car, and not got a job.

Prop/Mise-en-scene

On the wall in the hallway in Xara's flat I plan on having a poster for 'Groundhog Day', this is to symbolise the fact that Xara's life, at the start of the film, is monotonous and the same thing happens every single day, without change.

I aim to have this in the first run through of her morning routine, when she is in her hallway, however this will not be in the third and final time, because, the end of this will be with Xara being made redundant. Therefore this is not the same occurrence as on most days.

However this will be in the background, and will not be entirely visible, this is because I do not want to make this obvious, as it is supposed to be a visual hint to the way Xara's life is going.

History Props

These will be the books that will be placed on the book shelf in Xara's hallway:

This is because they are mainly history books, or novels set in periods of time from some while ago, so therefore reflect that part of Xara's lifestyle. They form a link with a later part in the film, when Xara pursues a career in historical research. These books will show the audience Xara's interests and it will make sense to them when she searches for a job in that field.

Costume List

This will be the costume that the boss will wear, with the actor wearing them:

Script: Third Draft

I have now named the manager for the business Xara works for, Julia Everett.

Julia: Will you step into my office please?

(Xara nods, concerned expression, follows boss to her office)

Julia: Please, (slight pause) Sit down (gestures to chair and waits for Xara to sit down)

First possible way of firing X

Julia: Due to the current climate, our company has had to make some cut backs. Unfortunately we are going to have to let you go. You have ten minutes to clear your belongings away and leave the building. I apologise for the whole situation, and wish you luck with finding another job.

(Xara sits, stunned into silence, on the chair in the office.)

Second possible way of firing X

Julia: I’m afraid I haven’t got good news for you. We’re going to have to let you go, you’ve heard how it is at the minute and we’ve had to let a lot of people down. It’s a hard thing to do but it has to be done. I am very sorry for this, I wish you look for the future. Sorry.

I have also chosen to have another possible ending, this enables me to use different forms of film language to express why Xara is being fired, rather than relying heavily on the script.

Mise-en-scene Basic Information

The idea that her life is monotonous, the same thing happens again and again (Groundhog Day, clocks and circular shapes, these things should be shown in the first two parts of her traveling to work

The fact that she is going to get fired (not sure what could be used yet, but it should be shown in the time she travels to work)

Aspects of her life and personality (history based stuff and research also stuff to do with the university she studied at)

Things referring to events that will happen later in the film (losing friends: costume should show this, but must also be linked with knowing what her friends are like - moving house – getting a new job)

Things I Need To Do.

-Location photos
-Prop photos
-Costume photos
-Mise-en-scene list and photos
-Animatic
-Screenplay
-Shooting script
-End of sequence music

Clock Prop Photo

In my film sequence, part of the mise-en-scene will include a clock. This clock will be:

The clock symbolises the monotonous day to day routine Xara has to follow, this is to show how each day the same thing happens.

Project

These are the basic details for my film sequence:

Prop Photo

These are the headphones I will be using during the bus section of my sequence:

Due to there being an issue with these headphones as they broke, I had to use a different pair. This is the pair I have used instead:

(Updated 29/03/2012)

End of Sequence Music

For the end of my sequence I have decided to use an original piece of music. However I have been looking for inspiration for what I may want this to sound like. The first piece of music that has been similar to how I want the outcome to sound like is Limbo by Ludovico Einaudi:



The music is slow and smooth and evokes a melancholic feeling, which is how I want the audience of my film to react at this point. However it is not quite right, as it does not create enough sadness in the listener to make them sympathise with Xara during this scene.

...

Script: Second Draft.

This is the second draft of my Script. I will, once again, go through it and perfect it.

Characters

Xara:

Boss Lady:

Boss Lady: Will you step into my office please?

(Nods, concerned expression, follows boss to her office)

Boss Lady: Sit down (gestures to chair and waits for Xara to sit down)

Boss Lady: Due to the current climate, our company has had to make some cut backs. Unfortunately we are going to have to let you go. You have ten minutes to clear your belongings away and leave the building. I apologise for the whole situation, and wish you luck with finding another job.

(Xara sits, stunned into silence, on the chair in the office.)

Office Art...

For the office scene I plan on having art for the wall that is based on the economy or on how the business Xara is working for, an example for this would be:

This is to show how poorly the business is doing. Also it links with the fact that Xara is being made redundant because of the way the economy is. This for the audience to understand without having to rely too heavily on the script.

Storyboard

For my storyboard I am using an A4 sheet of paper with individual boxes for various aspects, in order for me to go into as much detail as necessary, both visually and and descriptive.

Story Type

The story type my film follows is The Rites of Passage. Xara has reached the climax of her office career, in that she is made redundant. At this point she believes she is happy in her work and that she will continue in this line of work. However when she is fired she reaches a cross-roads, she has to decide whether to get back into work, and in work that she actually wants to be part of or to be consumed in her post-redundancy depression and not care about anything. Eventually she overcomes her troubles and looks for a better career path. She begins the next phase in her career and life, and she has matured both in terms of career but in understanding the way she should live her life, in the way that she should be in charge of it and not live by the guidelines her friends have set.

Music

For the latter part of my sequence I need to use non-diagetic music which relays the mood of the character and the situation, after listening to various pieces of piano music in order to find something that fits, I have not managed to find anything, however I have decided that it is piano music that would most likely fit and work well. But, due to the fact that I have not managed to find anything I feel that my best course of action is to create my own piece of music that would work. To do this I have approached my Tutor, Adam Hembrough as he is a pianist, and together we will work on some music that will work with the chosen part of the sequence. This will include me giving him the right information leading him in the direction I want the music to go, for instance whether I want it to be Legato or staccato and so on. By the end of production I'll have worked on some of the music in my sequence as part of a collaboration.

Added on 27/03/2012

Unfortunately, due to various production complications I have not been able to use original music in my film. Instead I am going to use my inspiration for this choice, Ludovico Einaudi. I shall be using one of three pieces of music: Limbo, Quel Che Resta or Canzone Africana IV, these are all from the album I Giorni.