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Everything posted by Film401

  1. Now that the course is over, my top 5 has changed a little. 1) Rear Window 2) North By Northwest 3) The Wrong Man 4) Dial M for Murder 5) Psycho
  2. I watched North by Northwest again and saw something I haven't noticed before. When Thornhill runs from the UN building after dropping the knife, outside there is a extreme long shot at a high angle. On the right is the building reminding us of the opening credits. In the center of the frame, as Thornhill runs to the street, the little plaza is in the shape of a piano suggesting he is being played.
  3. Not only does Hitch use what we would call a normal POV dolly, shot but he also experiments with a two shot POV. I don't recall seeing this in any other film. Most filmmakers would show the POV of the boys as just one view, not a two shot. Hitch experiments were designed to do something different from the norm, and this is one subtle way of telling the story a little differently.
  4. Or the narrower viewpoint is like the confining space of the boxing ring.
  5. What I found interesting, was remembering the earlier 1966 interview where Hitchcock talked about doing something different in a shot. He managed to do this in The Lodger by using the teletype/telegraph machine and the words running across the marquee instead of using title cards. He conveyed quite a bit of exposition quickly and (of course) silently.
  6. I have an idea for a discussion. List your top 5 Hitchcock films as of now (even if you've never seen a Hitchcock film) and then revise or keep your rankings at the end of the course. If you have made changes by the end of the six weeks, please feel free to tell us the reason(s) for the change.. My top 5 are : 1) North by Northwest 2) Rear Window 3) Psycho 4) The 39 Steps 5) Vertigo
  7. I think we should use the "extreamely violent" criteria. However, you must take into account the implied violence. A shadow in an alley with a lead pipe hitting someone on the head; the o.s. sound of a gun shot and the fall of a body; a scream and screatching of tires when someone falls (or is pushed) off a roof; etc. These were frightning things in Hayes Code era. Today however, with no code, we see everything. Most filmmakers assume their audience needs to be spoon fed the visual information.(don't get me started, please!) So you no longer have a crime thriller, you have a gore fest. The p
  8. That's what I feel like saying everytime I go to chat. I'm either the only one there or the only one who wants to chat.
  9. I did a show called "The Concrete Jungle" and in it were lines from various noir films such as The Big Sleep and Double Indemnity as well as others. We also watched some of these films as research for the style we should use in our performances.
  10. Slightly (?) on topic.... Would you consider Sin City a "neo-noir?"
  11. Like most other films noir, the woman is not to be trusted. Fim noir says "This is a man's world, and women should be home watching their families". If she has a job as a reporter, she must be after something else. She has to have a different agenda. Marlowe shows us he's no ordinary detective, by trapping her (physically and mentally) when they get inside his office. He let's her know he's on to her and he is not to be played. Most film noir protaganists, don't find out they've been trapped until it's too late. Marlowe also shows the audience something. He is holding the 'key' (In plain si
  12. The way Preminger introduces us to Waldo in a V.O. We think he will be narrarting the film, but he is actually a writter, and this may be just another one of his stories. The ticking of the clock reminds me of someone pecking at a typewritter, suggesting he is either "self taught" or he is very careful with the words he uses. He feels he is above everyone else, ( he makes others come to him while he's in the bath.) so he doesn't " bother with the details." In film noir, the detective character is just one step above,(if at all) the ordinary street thug. He pays attention to details. That is
  13. The use of Vincent Perry's POV in hte opening of Dark Passage, would be considered a successful experiment. Daves doesn't stay in the POV until, Perry gets into the car. Until then, the POV is intercut with shots of Perry running thorugh water, and bush. The audience now knows they are seeing what Perry sees, and sets up the sequence of Perry in the car. Intercutting is no longer needed. The POV helped the tension, but the tension didn't start until Perry's V.O. Added with the drone of the siren form the prison and the sirens from the motorcylcles, the tension has been raised. It is tempered
  14. The opening contains many elements that contribute to the style. It begins at night. Sap is dripping into a bucket like blood from a slaughtered animal. Even though it does not take place in a city, the hut is still crowded, dirty, and grimy. In the supposed peaceful night a shot rings out, disturbing the natural order of life on the plantation. A man stumbles, fately wounded, into view then into the shadows, while a woman follows. She then brings the pistol up and empties the bullets into his body. Overkill. There is passion in the killing - they knew each other well (if not intimately.) As
  15. Screenwriters do not need to describe these things with angles etc. They use their descriptions to get what they seein their mind to the paper. If you saw a low angle shot of a bully standing over his victim (the hero), you would describe the hero's POV as: " (The bully ) towers above him". This is one reason writing a screneplay is so difficult and time consuming. The scripts I have seen that do have these camera moves in them, are shooting scripts. These are scripts available from Amazon and others after the film has been released. If I am writing a screenplay to sell, I do not put camer
  16. Some of the things I noticed were how the film opens with a shot of fire. A reference to hell, as noir is asociated with the underworld, or criminal element. It felt as if the train was a person (there was even a train POV) and the tracks were "life." Life has it's curves and near misses. It has it's dark times (tunnels) and stretches where the end is in sight. I also noticed the nondiegetic music didn't begin until around the 3:10 mark. The music's pace kept with that of the train's. and the cresendos were during the whistles, and finally the journey comes to a slow end like a long life.
  17. I too would like to know how I can view this film in it's entirety. I do not subscribe to cable, so I would need an online source.
  18. Screewriters write what the audience sees, not how they see it. For exampleThe writer would write about the game and the environment in which they are playing.They would then discribe the woman scolding the children and her dialogue. The writer would not write how the scene is shot (i.e crane shot;low angle; close up;etc.). The writer writes and the director stages the actors and cameras to meet their (the director's) interpretation of the script. The last scene could be written as: A little girl bounces a ball on the sidewalk on her way to school. Adults on the sidewalk pay no attention to
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