Script idea:

Since we're only working on the intro sequence for our neo-noir, the script does not call for that much to be said, especially since we'll be cutting up a lot of silent action in the editing.

Our primary interest, script-wise will the be the brief introductory narration, presented in a sort of 'pause' in the fast-paced action of the sequence.

Since I'm co-writing the script, here's an idea for our narrative:

EXT. OPEN FIELD. DAY

NATHAN runs towards the camera, stopping close. He looks deadpan in to the lens.

NATHAN

I know what you're thinking.

"What's this silly wanker gone and done?"

Truth is, I haven't got a clue what's going on.

But, it's all downhill from here.

NATHAN looks over his shoulder, seeing his pursuers and looks back in to the camera.

NATHAN

Oh, shit.

Fade to black.

Quick update:

Okay, so we've been given the pre-production for our neo-noir opening sequence!

The work has been fairly well distributed between the team, with Aiden working as Producer, Becca editing, Harry doing art direction and me directing and working with the camera.

I'll be helping Aiden out with the script whilst drawing up the storyboards.

Evaluation of "The Exchange":

We decided to film our neo-noir mixing crime and suspense. I did not play a major role in the film, and focused my time on working with the camera and trying to compose shots for fluid editing later on. Between my team, I feel the acting was strong. This came from our relationship as a team, and that our friendship meant we were fairly comfortable performing all of our scenes. I feel that the editing went fairly well, although there were some minor problems. I was not present to participate in the editing, but think that the finished project was overall a success, especially in setting tone and mood. Re-shooting several scenes, as well as more careful shooting and editing would certainly benefit the piece, but since it was our biggest project so far, as well as this being the piece we had most freedom with, I feel it has taught us several lessons in limitations and practical/technical skills.

Original film noir idea:

A: Rough synopsis- The film centres on a prison inmate, . We open with him being sentenced to life imprisonment, convicted for a series of killings, which he claims he is not guilty of. The film cuts between Welsh in prison, several years in to his sentence, and Welsh whilst he was investigating the killings. Through a series of psychological assessments inside prison, we see Welsh's character develop, his mind peeling away more and more as he descends in to his own subconscious, learning the truth about the crimes. A crucial moment of the film will be when Welsh first attributes the crimes to someone he knows, as this then fills in the previous flashbacks to his investigations, solving certain elements of the plot. However, the ending is the absolute climax as the entirety of events unfolds around Welsh. Locations used will mainly be Welsh's cell, the psychiatrist's office and various crime-scenes for flashback sequences, and I plan to include first-person narration throughout.

B: The first three minutes of the film will be shot fairly intensely, introducing the character of Welsh fairly dramatically. I would have it cut between him in prison, at crime scenes and against a plain white background, dressed in white, giving us an introduction to the film. The opening lines would echo aspects of Welsh's psyche, which will later become more obvious as his story unfolds. Following this introduction, we would see Welsh being escorted in to a courtroom, with the doors shutting on us, blacking out the screen and then showing the film's title in bold white lettering.

C: I plan to use a lot of fast cuts in editing, breaking the opening speech up in to two or three second shots, giving the story's settings away to the audience as early as possible. By establishing these here, I hope to be able to focus more on the characters and their developments later in the film. As for sound, I am thinking of having a song playing in the background to the opening narration, increasing in intensity as Welsh becomes more serious with his information, fading out as he is led in to the courtroom.

Analysis of "Brick" 2005's opening:

Brick is a 2005 neo-noir, with the story of a pulp-fiction detective story set in a suburban California.

The initial thing to hit us is the lighting of the scene, showing stark contrasts with extremely bright highlights. We see the main character, Brendan, squatting outside the mouth of a storm tunnel, looking at the body of his ex-girlfriend. The acting of Joseph Gordon-Levitt must be mentioned, as he sets the tone of the character almost instantly, showing Brendan examining her body almost objectively, close-up shots identifying what may be clues or important notes. This sets Brendan up as the reserved, gritty detective character common in the pulp-fiction detective narrative. The music is notably chilling, consisting of brief and high-pitched notes that discern the scene as crucial to the plot. There is a flashback to her near a locker, wearing matching bracelets with the girl lying in the water, confirming her identity to Brendan, before sharply cutting to the title-card, a simplistic black and white slide with the title 'BRICK' printed centre screen.

The simplicity of the sequence is excellently used, defining a major crime as nothing but a part of a much larger puzzle, preparing the audience for the entirety of what is to come.

"The Exchange":

Our next task is to prepare, shoot and edit a 2-minute sequence called "The Exchange". We must prepare each shot individually, find our filming locations and fill in the necessary paperwork for the project itself. We have chosen to film in Alexandria Park and on the Waterfront docks. The assignment requires that we all participate in each stage of the production, meaning we must all act, direct and film and edit.

Evaluation of preliminary exercise:

Our preliminary exercise had us film a series of brief shots involving three lines of dialogue. Each of us had to direct multiple shots, which I felt was important for us academically and creatively.
I feel the piece gains merit in the precision of our continuity editing. We have minimal, if not zero continuity errors, as well as clear sound recording. However, there are several mistakes which cannot be denied in the work we produced, primarily the appearance of a boom mike briefly in one shot, as well as an instance of poor framing in another.
Overall. I feel the exercise was helpful to the entire group. We all gained valuable experience, which we will need for further exercises and our coursework. I personally feel my shots went well, and that I've understood the composition of shots and use of the camera and equipment.

Analysis of a film opening: Harry Brown.

My choice of analysis for neo-noir is Harry Brown, the 2009 action-drama starring Michael Caine, directed by Daniel Barber.

The films opening shows a gang initiation ritual of taking a hit from a light-bulb pipe, surrounded by other members. The sequence is filmed largely by hand-held camera, giving it a personal and up-close feeling. The dark lighting hides a majority of the gangs identities, which I feel adds a sense of foreboding when several members get physical with the initiate during the process. We are told the ritual is being filmed on a phone, as a member presents the new recruit with a handgun, telling him he's a 'member for life'. The scene shows a strange side of street gangs in Britain, portraying them as a sort of family, united together.

The following sequence is filmed on a mobile phone as well, and shows two of the gang riding around a council estate on a motorbike and causing general havoc. The drive up in to a park, where the new recruit opens fire on a mother and infant child hoping to scare them. Again, the hand-held camera adds a dynamic motion to the shot, showing the sheer chaos of the scene itself. However, the amount of movement seems to distance viewers, possibly to prepare them for the accidental murder, when the recruit shoots the mother in the head.

The boys ride away, screaming and attempt to connect on to the road nearby. However, this fails when we suddenly see an oncoming van, smashing the bike over and sending the riders flying. The sequence closes with the phone filming the crash, then fizzling out.

The opening certainly sets the mood for the movie, showing two brief sequences of illegal activity on strangely personal levels for the audience, with a definite unique approach to street gang culture.

Two examples of those neo-noir-y fellows:

Blade Runner:

Ridley Scott's 1982 sci-fi/neo-noir masterpiece. The story is set in 2019, and follows a retired detective, Rick Deckard, hunting down a group of convict bio-engineered humanoids. The films neo-noir classification is defined mainly its technical effects and the typical noir characters present. Deckard is a gruff, retired detective with a grizzled past, on a mission he does not necessarily want to follow. The technical effects used include chiaroscuro, stark contrasts between light and shadow.

Kiss Kiss, Bang Bang:

Directed by Shane Black in 2005. The film combines classic noir with a dark comedy, set in Los Angeles. The characters are presented in a contemporary noir manner, with protagonist Harry Lockhart being an ex-thief turned actor, turned private eye. He takes lessons from a stern, somewhat overly serious gay detective, Perry Van Shrike, who is ultimately wrapped up in Harry's magnetitism for trouble. The film also features frequent first-person narration by Harry, who describes their progress in the case and his training, as well as establishing intricate inter-weaving backstories for multiple characters and events.

Double Indemnity (1944)

My chosen scene for Double Indemnity is the first meeting between Neff and femme fatale Phyllis Dietrichson. Neff is looking to sell Mr. Dietrichson insurance, however he is not home when Neff calls. Instead, Neff meets the beautiful Phyllis, Dietrichson's wife. Phyllis is first shown in a fairly extreme low-angle shot, establishing her from the first point we see her as a dominant character. It is also worth noting that initially she is partly obscured by the banister and some form of drape, adding a degree of mystery and menace to her.



The establishing dialogue between the two also suggests to us that she is in control of the situation, making him repeat himself and being generally elliptical in her replies. Her semi-nudity also promotes the femme fatale status, given that it places Neff in a somewhat awkward situation, where she is noticibly still in control.
The conversation is shown in shot-reverse shot, switching from the low-angle shots of Phyllis to a high-angled shot of Neff. The high-angle suggests that Neff is an inferior character, playing in to the protagonist-femme fatale dynamic.
Neff is shown in to the living room, which features the noir characteristic stark contrasts between lights and shadows. There is also the appearance of venetian-blind effect.
Upon entry to the living room, Neff begins a first-person narration. This is another common feature of classic noir, and in this instance establishes the context.
When Mrs. Dietrichson returns, one of the first things we says is "I hope I've got my face on straight", immediately confirming her as a femme fatale, of which a natural characteristic tends to be immaculate appearance and attractiveness.
The two have a lengthy conversation, ultimately ending with Neff being shown out. He is asked to return to the house again, to which he enquires whether she will be there as well. This establishes Neff's interest in the character, and further confirms her as a definitive femme fatale.