Sunday, 26 April 2015
Wednesday, 22 April 2015
20 Key Frames
The following images are the 20 Key Frames that I have selected to represented my screenplay that accompanies my critical study. They capture the main scenes that happen throughout my screenplay. The scenes are of the two teenagers Susan and Michael, who struggle to keep their relationship when they come under fire from their parents. The storyline is simple but the this is how I wanted it as I wanted to follow the pattern of Wes Anderson and his films, which concentrates on how the film looks, it has to be aesthetically pleasing.
Key Frame 1
The first image is a low angle shot of the stairs in Michael's house. The frame is from the perspective of Michael's mother who calls him down for dinner at the beginning of my screenplay. The stairs are seen from a low angle to make the stairs seem grander, this is to enhance the fact that Michael grew up in a more luxurious lifestyle than Susan. As the audience we also look up at the stairs and are put in the perspective of families like Susan, who is more working class.
The lighting is dull to show that the scene is set in the evening when Michael is called down for dinner. I have added a yellowed coloured filter to the frame, as I have done with the rest of my frames. This is to add to the retro look that Wes Anderson follows in his films. Colouring is important in his films as it can mean different things. for example, in The Grand Budapest Hotel he used colours on set to show the different eras and in the 60s there was a lot of golden and brown colours. The mise-en scene is also very typical of the 60s as the carpet fits in with the flowery pattern that you would usually get. The open curtains show two things, one, that the person upstairs, Michael, is lazy as he hasn't closed the curtains yet, and two, the scene is shot at night because we can see the darkness through the window. If I was to create a screenplay from my script then this scene would be introducing Michael and his living situation, preferably in a male voice, like in Wes Anderson's films.
Key Frame 2
This frame shows Michael's mother calling him downstairs for dinner. The composition of the frame is centered so that it has the symmetrical look that Wes Anderson uses. This is a middle shot to show the full archway in their house as it further enhances how Michael has been brought up, and gives the audience background information into their lifestyle. The lighting on the other side of the archway is bright because I wanted to show how pristine Michael's mother keeps the house. I placed the mirror in the centre of the archway to further reflect on Wes Anderson's use of reflection.
Michael's mother wears the typical outfit you would wear around the home in the 1960s. She is also holding a cup of tea in her hand a s a prop that shows that whilst she's waiting between doing the dinner and cleaning, like the average housewife back then, she would have made herself a cup of tea. The yellow paint in the lounge is also typical of the era and Wes Anderson's films, which includes lots of yellow tones. This key frame shows the scene where Michael's mother calls him down for dinner which means that sound in this scene would be the dialogue from the script. There would be no non-diagetic sound added to the scene. I got inspiration for this frame from Wes Anderson's film Moonrise Kingdom where Suzy's mother calls her downstairs. Key Frame 3
I shot this Key Frame from a Bird's Eye angle to show Michael's viewpoint, which helps the audience relate to Michael. In my script, Michael's mother warns him that his dinner will get cold, and then when he comes down he then confirms that it is cold. This is the kind of dead-pan humour that Wes Anderson uses in his films. The roast is representative of what the typical British family has usually on a Sunday. This dinner would most likely be on a weekday to show the effort that Michael's mother puts in as a housewife, which shows she is going out of her way to please her only son. The shot has been purposefully filtered with a yellow tint so that it will fit in within the era of my screenplay.
The lighting is brighter and harsher than the previous frames because the atmosphere in the scene would also be harsh and silent, until Michael points out that the dinner is cold. The title of my screenplay is Quintessentially British, so the traditional Sunday roast is quite fitting and stereotypical but it is also something that British audiences will be able relate to.
The lighting is brighter and harsher than the previous frames because the atmosphere in the scene would also be harsh and silent, until Michael points out that the dinner is cold. The title of my screenplay is Quintessentially British, so the traditional Sunday roast is quite fitting and stereotypical but it is also something that British audiences will be able relate to.
I shot this Key Frame as a medium shot so that it would include the surrounding area that Michael and Susan are in. This frame is significant to the screenplay because it is the place where they first meet. The frame shows the surrounding books piled high on shelves which looked quite old and fitting with the 60s where the books wouldn't have been brand new. The lighting is quite dull, which reflects the atmosphere of the location where you have to be quiet. In terms of their characters in this scene, Michael would be comfortable because he is usually shy and quiet, but Susan would find it slightly hard to adjust to a quiet space, as she is more outgoing. This frame reflects the scene in which Susan introduces herself to Michael and their interaction afterwards. As you can tell from this frame, Michael is trying to look down and he doesn't know what to do in the situation, whereas Susan finds a person to make conversation with and she is confident in her ability to socialise, no matter where he location. The sound in this frame will be quiet before they interact and even when they do, they talk in hushed tones.
Key Frame 5
This medium shot shows Michael standing next to his bike against the wall outside his house. The frame shows an typical aspect that Wes Anderson uses which is artfully placing objects in order to draw attention to the shot. Using a medium shot makes it easy to include both Michael and the bike in the frame. The frame comes after the scene where Michael and Susan meet and before Michael's mother tells him off for returning late. This frame reflects how Michael is feeling as his composure is very rigid because he doesn't know how his mother will react. The bike is placed there to add interest, but it also would've been Michael's mode of transportation.
The lighting looks quite dull however it was shot outside. The shot again was filtered with a yellow tone to fit in within the key frames and 60s era. This shot shows the length of Michael's outfit and how this reflects his personality. It shows that he was probably brought up to dress like that and because he sticks to the rules he hasn't really ventured out of that, or changed the way he dressed. In order to portray this, I also had to choose his outfit carefully so that it would fit in within the 60s era. The golden shirt and round glasses add to this. The sound during this scene will not include any words from Michael but there will be diagetic sound from the surrounding area such as trees rustling and the wind.
I shot this to show Michael's mother looking up at Michael whilst she tells him off for being late. I think this frame highlights further how insignificant Michael's mother is to the plot as the height difference shows that she doesn't influence his decisions on his relationship, his father does. The lighting is fairly bright to show that Michael's mother looks after the home and cares about how it looks, which means she wouldn't want to live in a drab and dark environment. The wallpaper is fitting with the 1960s era and the colours are fitting with my other key frames which also includes yellows and oranges. Michael is standing tall at this point because he has this new found confidence since meeting Susan. In this frame his new attitude is easy to see, and the sound would also show this as their conversation would be very abrupt and to the point.
Key Frame 7
I centered this frame like I did in frame 2 so that it matched Wes Anderson's style of symmetry. I like using this style because it goes against the rule thirds compositing in photography and filming. The lighting is meant to show that Michael and Susan went out on a date during the day. This frame shows the place where Susan meets Michael before he takes her to a park. In this scene Susan smokes a cigarette which reflects the urban environment of the bus stop and Susan's rebellious characteristics. Susan wears a black fur coat over a yellow mini dress and knee high socks. I got the inspiration for her costume from the character Margot Tenenbaum from The Royal Tenenbaums as she also wears a fur coats which becomes the piece of clothing iconic to her. Michael is wearing his classic jumper over shirt with chinos because that would be his memorable look. I wanted to choose an old bus stop to reflect the neighbourhood they live in as the two characters are moving in a modern direction whilst the people surrounding them are still stuck in the past, like the bus stop. The sound would be fairly quiet apart from the diagetic sound surrounding them such as wind and cars driving by on the road. This would be interrupted by Michael asking Susan if she wants to go somewhere, which then leads them to going to the park.
This frame introduces the scene where Michael shows the park to Susan and I think that the wide shot shows the full landscape of the park. I think that the wide shot would also put the audience in the eyes of Michael and Susan who feel isolated in their neighbourhood so their only option at the time was to cling to each in order to find themselves. I added a yellow tint like I have with the other frames which matches the style of my critical study. The only sound in this scene would be diagetic sound such as wind and other people at the park.
Key Frame 9
This key frame shows the scene where Michael and Susan confess that they like being with each other. Both Michael and Susan would've found this hard to do as it wouldn't have been in their character to express their feelings. Michael was brought up in a strict upbringing with a controlling father who doesn't give him much attention, which in turn leads to Michael to never develop real emotions and feelings. Susan wouldn't be able to express her emotions fully to men because her Dad left her, leaving her with a distrust in men. The lighting is natural because the setting is outside. Michael and Susan are wearing the same clothes they wore in key frame as this would be a way to make the characters unique and memorable. The yellow tint has been used in this frame again to give a nostalgic look. The location is vast which not much in the background except for trees and grass, which also means that there won't be any non-diagetic scene, the sound will be diagetic and dialogue from the script.
Key Frame 10
This key frame shows Susan resting her head on Michael's shoulder which is a reflection on the previous frame, where I discussed how it must have been hard for them both to express their feelings. Susan resting her head on Michael's shoulder is her way of saying that she trusts him. The location is outside the lighting is natural and the costumes they're wearing are the same from the previous frame. I added the yellow tint again but I faded it slightly as the lighting was already quite bright. The sound would include diagetic sound such as other people at the park and there would also be dialogue from the script.
Key Frame 11
This frame shows Michael putting an anniversary ring on Susan's finger. Not only does it show that Michael is maturing by committing to a relationship. Susan's hand in this key frame is really important because it tells us a lot about her as a character. Her long and red nails show that she can be intimidating to some people and the multiple rings shows that she likes to be unique and have her own style. I'd like to think that each ring represents different stages in her life, and that the ring that Michael gives to Susan represents the coming-of-age stage in her life. The lighting is natural, but this frame is darker because there is more shadows in the frame. The sound would include the dialogue from the script and Michael and Susan are wearing the same pieces of clothing from the previous frame.
Key Frame 12
I wanted this frame to represent how Susan sees her home. So I showed her watching a film from an old television set in an old looking 60s style lounge. The picture on the screen is the 1971 film Harold and Maude which inspires Wes Anderson, especially his second film Rushmore where the main character is uncanningly like the main character from Harold and Maude. Also Wes Anderson's fascination with the secrets our elders resonates in this film. The location of this key frame includes furniture with lots of green which adds to the dark and drabby look that I was going for. Making the lighting dark further adds to this and it means that it shows Susan in the shadows, which is how she views herself in real life. The only sound would be coming from the the television set where the film is playing.
Key Frame 13
This frame follows the previous frame and it's the scene where Susan's mother argues with Susan when she wants her to do her homework and stop watching TV. I wanted the setting to reflect the working class environment that they lived. That's why I chose this 60's kitchen with contrasting wood and plaid where Susan's mother fits perfectly into. Susan's mother is wearing the type of outfit you'd wear around the house if you were working class, and she is wearing gloves because she comes home and she has to do the washing up. This backs-up Susan's personality and that she isn't mature enough to wash the dishes while her mother is working. Susan's mother is a direct contrast to Michael's mother as she has to take on both roles of a parent in the 60's whereas Michael's mother's only responsibility is looking after the home and cooking meals. The lighting is brighter in this scene because like Michael's mother, she still feels the responsibility to look after her home. The sound in this scene would be the dialogue between Susan and her mother.
This frame cuts to the scene where Michael's father calls Michael into his office to talk to him about his relationship with Susan. The setting shows a wooden desk cluttered with paperwork which reflects how Michael's father must view his life. Michael's father is wearing the suit he went to work in. The suit tells us that he might have an executive job up London because he would need to dress smart. The greying of his hair shows that he's been under big amounts of stress, which sets the scene for this frame to be tense between the two. Michael's father is also taller than Michael, which shows that he has more power over him as he looks down on him. The difference in their outfits reflect their different personality as Michael and his father are so different to each other. Michael's father is very stern and hard-working and Michael is very shy and lazy. The lighting is quite harsh because this is reflective of Michael's fathers personality. The sound would be the dialogue from the scene in this key frame.
Key Frame 15
This frame follows the previous frame where Michael's father calls him into his office. This frame shows a closer image of Michael and his father to further intensify the tension between the two. I think that this frame shows the disappointment on Michael's fathers face. The suit he's wearing is a typical 1960's suit that men would wear but having him wear it in this scene was important because he wants to highlight Michael's place in society and how he doesn't belong with her. The lighting again is very harsh as this reflects Michael's fathers personality. The sound in here would be the dialogue from the script.
Key Frame 16
This frame shows Michael and Susan meeting up at their local cafe. This would be after Michael's father told him that he can't date Susan anymore. So Michael made the difficult decision to break up with her. This frame depicts the conversation between the two. The two are sat facing each other, and my aim was to channel Wes Anderson's use of symmetry by having them both put their hands on the table. The location is a cafe that has been around locally for a long time so it fits in within the 1960s theme. The cafe is located opposite rural cottages because both Michael and Susan live near each other in the countryside.
The lighting is quite dull because I couldn't take it from another angle otherwise I would miss important location details. Ideally, I would've liked the lighting to be brighter so that the characters stand out. Both characters are wearing their signature outfits such as Susan's black fur coat. I faded the yellow tint on this frame as the lighting was already dull and I didn't want the yellow tint to make the frame look out of place. The dialogue would be the conversion between Michael and Susan in this scene and the conversions of other customers.
This frame shows Michael shaking Susan's hand to confirm the breaking-up of their relationship. This medium close-up shows the amount of rings Susan has on her hand and the long red nails she has. This is another reminder of the differences between Michael and Susan that convinces other people that they don't belong together. In this shot Susan is also missing her anniversary ring which tells us that maybe she suspects that they're going to break up and she wants to keep the ring as a memory. The location is the same cafe from the previous frame however the lighting in this shot is brighter because I angled the camera so that there would be more light in this shot, thus signifying that breaking up is the right thing to do. The outfits they're wearing are the same outfits from the previous frame. The condiments at the table add to the cafe look and I added a yellow tint to create a vintage look. The dialogue would again be of the dialogue between Michael and Susan and the conversations of other customers.
This frame cuts to the scene where Michael and Susan see the library before it closes. This scene represents the two maturing and shows how far they've come if they can be civil around each other after they've breaking up. This scene skips to 6 months after they've broken up. They are both standing in front of the library and Michael is finishing reading the book he was reading when he met Susan. The lighting is natural because the location is outside.
The location is a local library and the long shot is able to get all of the library in the frame. The little wooden horse in the frame can be something for the audience to read into, because the horse may signify something. I got inspiration for this key frame from Wes Anderson's film The Royal Tenenbaums where Margot Tenenbaum is standing at the steps of their local museum. I wanted the frame to look staged like the shot from The Royal Tenenbaums. The outfits were the same outfits from the previous frame and Susan's outfit has a direct correspondence to Margot Tenenbaum's outfit as I based Susan's character of her. I added the same yellow tint to the frame to add the vintage look that runs throughout my key frames. The sounds in the frame would include abrupt dialogue and there would be barely any background noises as the location would be empty.
Key Frame 19
This frame shows Michael giving Susan his book after he's finished it. The significance of this shot is that now that Michael has finished his book he can pass it on to Susan. I think that this shows that Michael has matured and that Susan should read the book in order to mature too. Also, the library is closing down so the book should be returned to the library, however Michael gives the book to Susan knowing that she would get better use out of it. Relating to the storyline of the actual book The Tale of Despereaux, a story about a mouse saving a Princess relates to Michael saving Susan from believing she was alone, and now Michael gives the book to Susan in order for her to understand why they met, so that she doesn't think that it was just for nothing. I think that Wes Anderson's films have hidden meanings like this that helps the audience look past simple storylines. The outfits and lighting are the same from the previous frame and the sound doesn't include any dialogue because there isn't any in this key frame.
Key Frame 20
This frame shows Michael giving Susan his book after he's finished it. The significance of this shot is that now that Michael has finished his book he can pass it on to Susan. I think that this shows that Michael has matured and that Susan should read the book in order to mature too. Also, the library is closing down so the book should be returned to the library, however Michael gives the book to Susan knowing that she would get better use out of it. Relating to the storyline of the actual book The Tale of Despereaux, a story about a mouse saving a Princess relates to Michael saving Susan from believing she was alone, and now Michael gives the book to Susan in order for her to understand why they met, so that she doesn't think that it was just for nothing. I think that Wes Anderson's films have hidden meanings like this that helps the audience look past simple storylines. The outfits and lighting are the same from the previous frame and the sound doesn't include any dialogue because there isn't any in this key frame.
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