Almost 500 views in 1 week!

Technology Standard

--Operating a video camera

After a lot of testing for lighting an positioning of the camera i decided i would have to place it on a tripod and tape it to the table so it wouldn't move. My camera wouldn't focus when close up to the reed so i had to put it high up on the tripod and zoomed in by 20x. Between each photo i had to change one small detail to the frame and it became quite difficult because reeds are so intricate and fiddly to work with. 

--Composing shots

I used the table as the background for most of the film as it provided a contrast of colour and texture to the reeds and reed equipment used. I composed the post-it section on a blank wall to draw the focus in on the post-it note title. I used contrasting colours for the post-its to give the most dynamic color effect. The film starts with a shot of the boot cap of my bassoon filling up the entire shot - this gives the viewer a sense of mystery and questioning as to what the film will be about. The bassoon is positioned on the floor so the reed could fall off the bocal and crawl across the floor and up the table to give a humorous feeling.

--Recording or using sound effects, dialogue or music and --Creating music or sound effects and --Editing sound for moving image production (use of editing software)

I arranged and recorded the music ("Lambada") for this film using Garageband. I used techniques i learnt in music technology at school to produce the best quality recording of the music. I recorded the main parts on bassoon and then added in some extra parts at the end of the song on contra bassoon to build the texture. I adjusted the velocity and quantization of notes individually on the midi tracks to create a realistic sound. I also adjusted the track volume and panning for effect. I wrote each individual part using garageband (such as the bass line and drum fills). The only track i used loops for was the drum kit beat. I added reverb and echo to the tracks to give a better overall sound. I then placed markers on the music in premiere pro to show places where i could sync up what was happening in the frame.

--Importing images & video files

I used iPhoto to import my images. I then exported them to the desktop ready to import into premiere pro. I then imported the photos into premiere pro. I had a few issues with importing the images into the premiere pro to be the same size as the project size. There were black "bars" on either side of the photos because the photos didn't fit to the standard size. After a lot of researching i managed to find a way to change the project size to be the same size as the images.

--Editing images for moving image production (use of editing software)

I used iPhoto to edit out little bits of blu-tack which were showing around the sides of the reed - these were impossible to have hidden from the view of the camera otherwise the reed would not stay in the correct place. I had to renumber all my images when exporting to desktop so they would appear in the correct order in premiere pro. Once the images were in premiere pro i adjusted the length of time (frame rate) in which they appeared for in order to synchronize it certain changes with the music (such as the post-it notes flashing inverted colours in the same rhythm as the bassoon theme. This also gave variety in the length of shot which makes it for interesting and visually pleasing for the viewer.

Overall time spent on project - Approx. 25 hours taking photos
                                                 Approx. 7 hours recording and editing music
                                                 Approx. 10 hours editing and putting together

Production Evaluation

Positive aspects of the process - I finished it on time. I wasn't entirely sure how realistic it was to complete the project as it was all a completely unfamiliar experience to me. When I started photographing i realised how large the project would be to put together. I am proud of my final product and think it is successful, especially as it is my first stop motion (or film altogether). During the editing process i learnt how to use premiere pro and how to approach difficulties/problems i had. This gives me a base knowledge if i use it again. I also learnt about the difficulties with lighting when filming and how to use my camera effectively so it didn't turn off or zoom back out every few minutes while i was re-arranging the frame. I found it very difficult to make each frame flow to the next because every photo you have to make one very small intricate detail on the reed. Each frame i had to pick up the reed again ( i couldn't just make the changes to it on the table as reeds are so small and fiddly!) and then put back where it was, take a photo, and then see if it was in the same place as the previous photo (so it would flow smoothly).

I also gained a reed out of it! - Which i recently played when i won the Australasian Double Reed Competition (Senior section - under 30 years)!

Steps in the process that could have been better done and strategies suggested to achieve this - The lighting - especially shadows - i had a problem in one point where there is an obvious shadow of me holding the camera which i couldn't get rid of while taking the photos (using different lighting set ups) or in the editing using photoshop and iPhoto. The strategy i used to try and eliminate the shadow after a lot of trying with editing was to speed up the frame rate so the viewer would not notice it. A strategy suggested to achieve no shadow or lighting problems would be to have a professional studio with the correct lighting set up. Experience in film making would also mean i would've had some knowledge on how to get rid of shadows.

Quality of video - I tried many different formats to export the final product and the best i could find was still not as high quality as the original images. If i had a better knowledge of how to use premiere pro i could possibly have been able to increase the video quality to that of original images. 

If i had more time i may have found an alternative to using blu-tack to stick the reed down during most of the film. I had to edit this blu-tack out while editing.

If i had more experience with making stop motion films i would have been able to do some of process faster as i wouldn't've been learning and experimenting with what works while i was doing it.

Some evaluation of how these changes to the production process may have affected the media product - It may have improved the overall quality of the film, but i think most of it is the best it could have been. It could have been a little cleaner (eg. no shadow, no extra editing out blu-tack).

Pre-Production

Task 3 - design

Film treatment 

Title - "Bassoon reed making 101" - 12 photos per second approx.

Based on the structure of the music - Lambada (recorded and arranged by myself) 

Style of film - Title sequence to a documentary on the basics of making bassoon reeds. The style of the title sequence is intended to be humorous and fun for the viewer to have a preconception that bassoon reed making is easy and very enjoyable when really it is very fiddly, frustrating and tedious. Every bassoonist wishes the reed would just be made by themselves and this suggests humour because it is far from the truth. 

Intro - The bassoon with reed on it is lying on the ground - the camera starts with a shot from of the bassoon from the bottom. Zooms up from the bottom of the bassoon with handheld shots. The reed comes off bassoon onto ground and crawls along the floor and up the table leg and into the centre of the table. A piece of gouged, shaped and profiled cane comes on and has a question mark and arrow from reed to cane. (*Cane*  -->  *Reed*    ?)

Link - cut to post-its, post-its doing inverted colours in sync with the beat.

Theme 1- Title - "bassoon reed making 101" with note post-its notes- scrolling away.

How- Scrolling in from the right - departs downwards, up or left

(Shots aligned to fit in with the music.)

Cut back to cane reed, arrow and question mark - question mark, arrow and reed leave (fly off) while the cane stays on screen, camera zooms in and cane starts being cut/scored on the "bark".

Knife comes on, comes up under reed then turns with the blade facing upwards. Screen goes black and it cuts the cane (in sync with a hit in the music). 

Cane closes up, 3 wires come on and wrap/tie themselves around the cane. Mandrel comes on and inserts itself into the reed. The reed them automatically forms by itself without showing the middle steps (for effect).

Theme 2 - A bottle of clear nail varnish then comes on and paints the "bark" section of the reed.

The reed the jumps onto a drying rack and a sun then moon fly past to signify a night going by (for it to dry and form properly).

Theme 1a- A reel of thread then comes on and thread starts piling itself onto the reed. When a sufficient amount of thread has covered the reed a pair of scissors come on. The scissors cut the thread and as it does the thread which was on the reed flies off to reveal the reed to have magically been bound. The scissors and thread then leave the shot.

Theme 2a - A tube of "Duco Cement" then comes on and drives over the reed, after it has gone over it the reed now magically has Duco Cement around the binding. The reed then jumps back on to the drying rack and a sun and moon pass to signify a night going past (for the Duco Cement to dry).

Outro - The reed then hops off the drying rack and on the guillotine. The guillotine cuts the tip and the reed does a back flip off the guillotine. 

The shot then zooms in on the reed and bits of sliced post-its appear as if rays of the sun to show the reed is complete. "By Todd Gibson-Cornish" then appears in the bottom left of the shot.

Task 4 - Crew and Talent

Todd Gibson-Cornish - Director, editor, arranger, performer, everything.

Bassoon reed - actor.

Post-its - actor.

Task 5 - Production Schedule 

Just me - photos all to be done in holidays and beginning of term 3, at home, in my room, with my camera, and my reed. Aim for 100-200 photos a day

I will plan how to do the post-it notes title in my head as it's too difficult to plan on paper.

I will arrange the music and record it at the start of the holidays.

Task 6 - Art department

Bassoon cane (gouged shaped and profiled) - from America 

Reed equipment - from America, Germany, England

Bassoon - Germany 

Post-it notes - Stationary warehouse

Reeds - made them myself with equipment.

Task 7 - Locations and permissions

One location - my house, my room, i give myself permission.

Exam Reflection

I studied the most on the genre paper for the media exam. I didn't feel as prepared as i would have liked to be (possibly because i wasn't at school for the whole week before the exam). I will know exactly what to study for the external exam and will have more time to study than i did for the mocks. I spent about 2 hours and 15 minutes on the genre paper which left me with only 45 minutes for the representations paper and this will show in my results. I memorised some key points but will memorise more for the externals. For the externals i will have more time to study and i will make sure I achieve well - aiming for 2 excellences.

Film Concept

1. A brief outline of the name/genre of the film opening
Documentary - "How to make a bassoon reed" - Title sequence
Using stop motion
2. the principal ideas you wish to explore
Stop motion
3. the emotions you wish to evoke
Entertaining, fun, interesting, informative
4. the impact you wish to have on the audience
How complicated it is to make a bassoon reed
To be enjoyable and fun
To encourage bassoonists to want to learn how to make them
5. a brief outline of the story, character and style of the opening
There will be no characters. This will be the title sequence of a documentary teaching bassoon reed making. The film itself will have detailed spoken instructions following the different steps to making a bassoon reed.
I will use the song "Lambada" which i arranged and recorded on bassoon as the soundtrack/music.
The audience will watch a bassoon reed being made by itself using stop motion and then will see the reeds/cane moving around in patterns and shapes which will lead to the title being shown. Overall length - 2 minutes 30 seconds (approx.) There will be a relationship between the images shown to the music being played.From this -

From this - 

To this - 

"Thinking about GENRE!"

Choose ONE convention across at least TWO movies. Describe how this convention is used in this film. Use specific examples (textual evidence: techniques, details) and refer to your notes as necessary.

Masked stalker/killer

Scream - directed by Wes Craven 1996
Ghostface - the killer, wears a costume of a black robe and the famous white mask. The mask was based on the painting "The Scream" by Edvard Munch in 1893 which was then created and designed by "Fun World" as a Halloween costume before being discovered by Wes Craven for the film. Ghostface is an unknown character throughout the film who stealthily kills multiple people and uses a voice changer to make his voice sound creepy and spine-chilling. He stalks the main character, Sidney Prescott by calling her on the phone to intimidate and terrorize her. No one knows who the killer is as it could be anyone behind the mask, and this creates a growing tension throughout as to who it could be. As the film progresses we eventually find out there are two people behind the mask of "Ghostface" who are a lot closer to Sidney than one would think.

Halloween - directed by John Carpenter.
Michael Myers ("The Shape") - The masked killer in Halloween is different to the one in scream in that he sneakily hangs around the neighbourhood following his victims and scaring them with his alarmingly intimidating presence. The film takes place in his home town where he grew up and he lives in his childhood house which is supposedly  'haunted' because it is where he killed his sister when he was a child. He wears a mask which looks like a white face, and intimidates the main character, Laurie who has no idea who he is but she knows he is a threat. She sees him often, following her and stalking her wherever she goes but her friends don't believe her. He doesn't talk at all throughout the movie which increases the tension of who he is and what threat he has on everyone. The main events of the film take place on the night of October 31st - Halloween night. Myers blends in well with the rest of the neighbourhood who have dressed up to go trick-or-treating because his mask looks similar to what other people are wearing.

2. Explain

Discuss why this convention was used in this way in these two films.

The convention was used in both films to create an uncertainty of who the killer really is and whether they are a major threat. It increases tension by not revealing who they are, especially in scream when the killer could have been any of the characters.

How does it link to the film as a whole?

Having a mask on the killer links to the theme of fear of the unknown in the film and what will be the eventual fate of the main characters.
If there was no masked killer/stalker there wouldn't be much of a story within the film.
Scream - The mask of "ghostface" links to his unknown voice on the phone which conforms with his disguise.
Halloween - Michael Myers links to the name of the film itself - "Halloween" in that he is a monster and comes out on Halloween night. His mask fits in with everyone around the streets and no one questions who he is because he fits in and this affirms the theme of the unknown in the film.

How does it develop an idea within the film?

Having a masked killer in both films develops the idea of fear of the unknown. The unknown possibility of whether it is your friends turning against you (as in Scream) or whether the the person is a real threat or not (Halloween).
Using a masked stalker allows the audience to be able to view the killer during the attacks and not know who it is. Whereas in a film such as Psycho by Wes Craven, we never see the killer during attacks because he doesn't wear a mask, so it would reveal his identity.

How does it reveal an attitude or point of view of the director?

The directors' intention in both films is to scare the viewers which is executed successfully using the masked stalker/killer.

What was the audience response to the way this convention was used?

Halloween - it makes the audience question whether the next time they go trick-or-treating there will be a killer disguised as a normal person amongst the normal people disguised as killers. Or, when they are just at home it could make them paranoid there could be a creepy person outside watching in on them.  It increases the tension and suspense within the audience.
Scream - It makes the audience question their trust of their own friends as to whether they are secretly a crazy killer or not. Also, by following the rules of horror, Scream can influence youth society to not drink, take drugs or partake in sexual activities because they could believe they will be victims of a killer.

What was the audience's expectations? Why?

Halloween - Although Michael Myers is revealed as the killer at the beginning of the film the audience don't know what to expect from him because he doesn't talk and has no motive to kill anyone, he is just crazy. At the end of the film the audience expect to see Michael Myers dead on the ground outside the house, but to their dismay he has once again vanished and is out on the loose to kill. This also adds to the unnerving effect the film has on the audience.
Scream - The film initially sets up the audience to believe the killer is Sidney's father as he is supposedly away for the weekend on "a business trip" when he has actually been taken hostage by the killers. The audience also only believe there could be one killer because they use one identity/costume/mask to kill. After Billy (Sidneys boyfriend) is let out of jail after being a suspect we believe it can't be him anymore as he has been proven to be innocent. In the end the audiences' expectations are proven to be wrong when Billy is revealed as one of two killers.

How did the way this convention was used conform or depart from tradition?

Halloween - It conformed with the tradition of having an unknown killer but departs from it in that he looks normal and fits in due to the time of year in which it all takes place - Halloween. If it had taken place during any other time throughout the year he would stand out as being a bit unusual.
Scream - It conformed with the tradition of having an unknown killer but again, departs from it in that there are two people behind the mask and one is the main character's boyfriend.

3. Analyse

Discuss the impact, change and implications of the way this convention was used in these films.

Scream - it could have been anyone, no one knew which created implications amongst the town because everyone is a suspect.
Halloween - Michael Myers had a huge impact on the main character who he was stalking, Laurie, because she kept seeing him but didn't have a clue as to who he was.

How effective was this convention?

Scream - Very effective as no one can figure out who it is  - they suspect billy but release him and then it actually is him in the end.
Hallowen - Again, very effective, because he did not stand out amongst the neighborhood during the time it was set which resulted in him being perceived as no threat.

How did it add to the commercial success of the film (or not)?

The Ghostface mask in Scream resulted in a large amount of commercial succes for the film. It has become an icon today, of which everyone recognises as the Scream costume. The makers of the film have made a lot of money out of selling the masked killer face and costume - still do now.

What happened after and before this film was made that is relevant to the way this convention was used?
 
Scream - Before - "The Scream" painting by Edvard Munch in 1893 was the influence for the mask of "Ghostface"

               After - The mask and cape of "Ghostface" are now recognized as a scary costume and often worn by children during Halloween.

Halloween - Before - Masks were worn for Halloween by children who went trick-or-treating and this influenced the mask for Michael Myers.
                   
                    After - As in Scream, the costume of Michael Myers are now recognized as a scary costume and often worn by children during Halloween.

Why has the convention changed (or not) in the two (or more) films you are discussing?

The masked stalker has changed and developed from Halloween to Scream to become increasingly scarier. It adds another dimension from just being another person as the killer in Halloween to almost a creature - "Ghostface" in Scream.

What are the possible effects on society of watching these films-- why?

The possible effects on society are mistrust of their friends or family or even themselves as to whether they are killers or just imagining things. It could result in people being more aware of who is looking at them and following them.

C.) Shot size/Angle + Camera Movement

I also found some aspects of shot size and angle interesting...

In film, shot size/angle and camera movement is a key technique used to create the overall feeling and style.

The title sequence begins with a wide angle wide shot of the old Victorian London city skyline then pans from from left to right, ending at the barbershop. The intention of the director, Tim Burton, in using a wide angle wide shot is for us to visualise the vastness of London and see all the chimneys in the skyline. This hints at the importance of the chimney from the fiery human-pie oven later on in the film and how it is just one of many pouring out filth into the dirty Victorian sky. Perhaps Todd will get away with it; perhaps no-one will notice the stench?  Once the shot zooms in on the Barber shop this gives the feeling that the barber’s shop is somehow hidden amongst all the buildings and chimneys and Todd’s revengeful bloodthirsty actions will also be hidden.

The camera continues to pan to the rooftop of Sweeny Todd’s barbershop showing the window in the roof and this emphasises the setting of central London. The attic skylight windows are typical of the era

It zooms in on the dirty window, which highlights the grime of London. I think the focal emphasis on the dirt and grime is not only to portray London at that time, but to give us a sense that something very “dirty” i.e. not nice is going to happen. It also gives us the sense that we are about to look through the window and see something unfold before our eyes.

When the camera zooms in to the window the depth in the shot increases. There is a high shot looking down on the empty barber’s chair through the window. This is interesting because high shots usually make the object or figure look small and lacking in power suggesting insignificance or vulnerability but this is certainly not the case. The barber’s chair is a significant object in the film and by showing it from a high angle I think Tim Burton is doing it to create uncertainty and confusion as in the music rather than showing it from a low angle to show it’s dominance and power. It could also be showing the chair IS of great vulnerability rather than making it look vulnerable. It is the focal point, and a very important part of the film, as this is where the murders are committed. Blood splatters on window, beside the chair, giving the impression of the chair being involved with the murders. I think this is significant and Burton intends to give us a sense of vulnerability as we watch the storyline unfold. Vulnerability and tension are what keep us on the edge of our chairs and are the essence of horror movies. The technique of using the camera shots to keep us uncertain and on the edge of our seats is reflected throughout the rest of the film.

C.) Titles/text

The opening title sequence of “Sweeney Todd” contains no dialogue or actors/ characters and this means we are not distracted by either of these elements but can instead focus on the images and themes presented. I will look at the way the titles are juxtaposed with the images on the screen and take on significance in foreshadowing the driving themes and meanings in the film.

Title designer Richard Morrison had worked previously with Tim Burton on Batman (1989) and they used the same technique in Batman’s opening sequence i.e. no actors/ characters shown. It gives us an association with Tim Burton’s style of directing and suggests his vision for horror films.

The film opens with “Warner Bros Pictures & Dreamworks Pictures presents” in gothic white font which contrasts against the black backdrop.  The gothic font helps create the setting of the film into the Victorian Era as we understand the style of the font and its common use in Victorian times. If the font was different, such as “Marker felt”, it wouldn’t fit as well and we wouldn’t get such a strong idea of when it was set.

Also many of the famous early horror movies were based on classic books of the gothic/horror genre, such as Dracula, Frankenstein, The Phantom of the Opera, and Dr. Jekyll and Mr. Hyde and so the gothic font helps us understand the genre as well as the setting.

An example of another film where the font suggests the genre, is the futuristic style font used for the Star Trek Film called:

The gothic font is also a traditional font for inscribing names onto graveyard tombstones and so through this Burton has suggested to us that death is going to be a driving theme through the film. 

All the titles are in white gothic font until the title of the film is announced “Sweeney Todd” in red gothic (dramatically reinforcing the images of blood). Tim Burton used the stark contrast of the white font against the dark grimy background to emphasise the setting of the film in dark industrial Victorian England. Also the use of white font until the title is displayed keeps the actor’s names clearly defined and separate from the title of the film. When the title Sweeney Todd finally appears in a red blood colour it has great impact and we realise that Sweeney Todd is not only the title of the film, but also as the central character he is inescapably connected to blood.

“A Zanuck Company Production” appears mid way along the left to right pan; it fades in and flicks out with lightening/thunder, caught by a drop of blood.  This technique draws the eye in. "A Tim Burton Film" appears just after the blood splatter on the window, centre of screen over the barber’s chair. This gives us an association between the director of the film and the barber’s chair. We already understand that the director plays possibly the most important role in the production of a film and therefore the proximity of the barber’s chair to his name suggests that the chair is pivotal to the film plot. His name is centre screen and this also draws our eyes in.

Three actors’ names appear on the screen before the film title is displayed. They are the three main characters. We see an association between their name and the image presented.

First is "Johnny Depp" and the text appears by the old Victorian silhouette picture of himself. I think Tim Burton doesn’t think we need to see… “(Johnny Depp) as  Sweeney Todd” as the image is enough for us to make an association. This also keeps a slight sense of uncertainty and tension as we are not 100 % sure. Depp is introduced first as he is the main character and the setting is the barber’s room with the chair. The style of the silhouette image is Victorian and so in keeping with the gothic font. The gothic font and image accentuates the Victorian period and the text and image combined clearly put “Johnny Depp/Sweeney Todd” in the barber’s room with the chair. This association let’s us know that the room and chair are going to be important.

Then "Helena Bonham Carter" appears by the silhouette of Mrs. Lovett, which shows she is also a main character and linked to the barber’s room/house. The Director makes the association between the two actors for us and we understand Helena Bonham Carter is closely linked in the conspiracy with Johnny Depp’s character

The name of "Alan Rickman" appears as the camera pans down past the barber’s chair. We can see that his character has a close association with the barber’s chair and the director is drawing our attention to it. As we realise that he is the Judge we suspect that this might be the place of his murder.  The display of the text is carefully coordinated with the music and appears on the downbeat of the music. This gives a sense of finality and emphasis that this is the place of his death. It shows the main drive behind the film and why the chair is there - to kill Judge Turpin. 

C.) Sounds

Tim Burton mainly uses diegetic sounds in the opening title sequence of Sweeney Todd. Diegetic sounds are those that exist in the world of the film and non-diegetic are ones that are added to create mood and feeling appropriate for the intended meaning of the scene. The diegetic sounds are those of a gust of wind; rain pattering on the rooftops; the globules of blood landing as they drip down the chair and splat on the window; thunder; the cogs of the chair clanking and the slam of the oven door.

We hear the cogs of the barber’s chair clanking as the camera pans downwards beneath the chair. This is an effective use of sound and I think it suggests more than one idea.

Firstly it hints at some hidden machinery associated with the chair that is not known to those sitting in it. We do not expect a barber’s chair to have that sort of machinery, so we begin to wonder if there is a hidden purpose to the chair. It adds to the sense of uncertainty and growing fear we are made to feel during the title sequence.

 Secondly the cogs suggest Todd’s thought processes, his mind turning over the ideas for revenge. Then when he comes up with the idea for murdering his victims it is like an automated machine that moves on its own and cannot be stopped. It brings up images in my mind of typical film images of victims tied down to a conveyer belt heading towards a fiery furnace or knives etc. – something that will kill them, and not being able to escape. For example, a Disney program such as Tom and Jerry.

The sharp slam of the oven door gives us a sense of finality, of the end of whatever horror we are to witness. We have seen the meat grinder spewing out meat of some sort and the finished pies coming out oozing blood. We feel horror and disgust and then try to make a connection back to the barber’s chair. The slam is sudden and gives us a fright, we realise that there is no going back after this point. Immediately following are the images of the sewers and “waste products”. The sudden sharp noise is typical of the horror film genre and a technique used to make the audience “jump out of its skin”.  In combination with the gory images it is a very effective technique.

The one non-diegetic sound I indentified (apart from the orchestral music) was a “Fssshhh” sound tied over the camera shots cutting to inside the barber’s shop. It suggests a ghostly unworldly sound and adds to the eeriness and uncertainty. At this point we don’t know if there are going to be ghosts in the film and it adds to our fear of the unknown. In combination with the images of blood it gives the sense that the “after-life” might come back to haunt us.

C.) Lighting/Colour

Lighting and Colour in films is to create mood and feeling and to ensure understanding of the meaning of the shot is clear.

The overall lighting in the title sequence of “Sweeny Todd” is dark and gloomy, and this is a traditional effect for horror films. It fits the genre of horror films right back to the time of films such as Dracula made in 1931. Dracula is one of the earliest classic American horror films directed by Tod Browning. It incorporates eerie lighting with a moody dark shadowy atmosphere. We understand from the overall lighting effects that Sweeney Todd is going to be a horror film.

The dark lighting of the entire title sequence is interspersed with the bright red of the blood and because of that we recognise that the blood is going to be a central theme in the film. The use of the blood grows from droplets into large puddles spilling out through the opening sequence. This suggests the ever-increasing butchery and murder that Sweeney Todd commits in the film. The bright red and very realistic looking blood travelling through the opening sequence contributes to Tim Burton’s vision for the film.  I think that he wants to give us the uncomfortable feeling of being right in the middle of the action with all the blood and gore as it would be if we witnessed “real” murders.

 

The other contrast colour is the bright lighting on the white in the text titles. The stark white contrasts against the dark background and draws our eyes into the screen. We focus on the text and see the names against the images in the background. As Tim Burton only puts the names of the actors against the images they represent, for example, Alan Rickman’s name beside the barber’s chair – the place of his murder, the colour contrast ensures that we focus and understand the text is associated with the image behind.

The other intense lighting contrast in the title sequence is the lightning flash in the sky, which occurs at the same moment as the thunder and is also emphasised by the dramatic music. The combination of these happening all at the same time makes us understand that we are in the centre of the storm. Lightning and thunder only occur at the same time when the storm is overhead; otherwise there is a delay between the lightning and then thunder sounding. This heightens the drama and our fear but also suggests to us that the film is going be in the very centre of a “storm”. So during the film we are not going to be observing action from the sidelines but from the very centre of the action. This fits with Burton’s vision of making the film “realistic”.

The use of lighting accentuates the shadows of the Victorian buildings and the smokey atmosphere. The light in the clouds is from the full moon, with some of the raindrops coloured white catching light from the moon and the others red with blood. The clouds get progressively lighter as the camera pans down from top. From this we understand it is the middle of the night and that is when bad things can happen! We are brought up to fear dark alleyways and shadows at night, danger could be lurking.  Images of Jack the Ripper in Victorian England are shown in just such shots e.g. Alfred Hitchcock’s horror film “The Lodger”.

As the camera zooms into the window it is dark and eerie inside the house and this keeps the scary mood. A contrast is provided by the light reflecting from blood dripping and this makes it look more gruesome and suggests the overall horror of the film.  The contrast between the sombre dark colours and then the white and red draws our attention to the importance of colour throughout the film. Tim Burton uses colour to portray important ideas. Later on in the film bright colours and contrasting lighting is used to portray Todd’s earlier happy family life with his wife and child. The dark colours in the rest of the film reflect Todd’s dark actions.

C.) Music

Stephen Sondheim composed the music for the original musical “Sweeney Todd” and this music is used in the film. The compositional style of Sondheim’s music in the film has been compared to the French composer Maurice Ravel (who was an impressionist composer- ie creating visual impressions through the music) and also Bernard Herrmann, who composed the music for the most famous of all traditional horror movies - those by Alfred Hitchcock, for example, "Psycho". We recognize that style of music from the genre of his horror films and so identify with the genre and understand that this is going to be a horror film.  

Stephen Sondheim’s original score for the musical was re-orchestrated by the stage musical's original orchestrator, Jonathan Tunick. He increased the orchestra from twenty-seven musicians to seventy-eight and this creates a larger, more cinematic feel appropriate for the film.

Prior to the opening sequence is a loud organ introduction for the “Dreamworks” logo. It is intensely dramatic, in the minor key and sets the scene for the opening title sequence.

The music used in the opening title sequence is orchestral and opens with a repeating triplet motif in an ostinato-like form. This is in the lower register of upper strings as the camera pans across the skyline of London. The key is not established which creates a sense of uncertainty and tension. If Sondheim had used a major key this would have created a mood of positivity and cheerfulness and contrasting this, using a minor key would have created a dark soulful tonality. The uncertain tonality and key of the music adds to the sense of unease and dread the Director, Tim Burton wants us to feel as the opening title sequence unfolds.

Stephen Sondheim has used the repeating triplet motif to create a feeling of persistent moving forward which keeps us on edge. It also anticipates and suggests the plot of the film - that of Todd’s sole purpose of moving relentlessly towards the ultimate goal of killing the Judge. We recognise and identify repetitiveness and relentlessness in a musical motif as creating a feeling of anticipation, horror and fear. The repetitive motif in the film “Jaws”:  duuh…..d- duuh.….d- duuh….d- is another good example of this technique being used.

A quiet low pedal interval of a fifth in the lower wind and strings begins, contrasting with the repeating triplet motif above. This dark tonal colour enhances the sense of doom with additional dissonant (clashing) notes to add tension. The dark sinister tonal colour of celli and bassi lowers from a fifth to an augmented fourth (or tritone) against the tonic. The augmented fourth is one of the most dissonant musical intervals in music and was named "diabolus in musica" - "the devil in music" in Renaissance times.  In those days composing music was very much an act of praising God, so as it sounded “unpleasant” and “un-godly” the augmented fourth was banned in Renaissance church music. When Sondheim uses the augmented fourth in Sweeney Todd we subconsciously understand that this interval has a “non-church” or “ungodly” like sound and that as the film unfolds we will follow a story of “ungodliness” ie murder and butchery of the very worst kind.

The augmented fourth interval is in sync with the bolt of lightning and crash of thunder combining several techniques at once - music, diegetic sound and the bright white contrasting colour of the lightning. This combination of techniques adds to the dramatic effect at this point and gives us the sense that there will be some dramatic events during the film.

As the camera zooms into the window the upper strings enter with a held interval of a fourth, building the texture and with the higher pitch highlighting fear and eeriness. This music intensifies and crescendos (gets louder) as we see the barber’s chair and this musical technique makes us realise that the barber’s chair is going to be a key focal point in the film.

As the camera cuts inside the flute begins a simple melody playing around the dominant note (5^th) of the scale with the held fifth chord underneath in the bass. This melody also has ambiguity like the start, because as a listener we can’t tell if it is in the major (happy) or minor (sad) key as there is no third clearly stated. It is the third in a chord that creates a minor or major triad (chord).

As the shot passes the armrest on the barber’s chair, the bass note moves to chord six of the key finally making it clear that we are in minor (sad, eerie, scary) key.  Stephen Sondheim has used the harmonic structure of the flute’s simple melody to portray the contrasting parts of Todd’s life: his happy past with his wife and child, then his sadness at his loss of them and the eerie revenge he is going to take.

After the image of the chair there are dissonant chords with a clear high pitched theme on top in the flute, piccolo and clarinet. This threatening and menacing music suggests the idea of danger, which is reflected in the shot showing blood dripping on the cogs beneath the chair. The music continues to intensify with a lot of dissonance with the colours of the orchestra used very effectively, even to the extent of using voices and organ. This is interesting because there are no people shown in the opening title sequence so when voices are introduced that subtly introduces the idea of the characters and not just the images of things and places.

The music builds up and the brass instruments (trumpet, trombone etc.) come in and increase in volume (crescendo) to when the title appears on the screen. The brass play the theme tune and this has great impact as the tonal quality of brass instruments is loud and dominant. Also brass instruments often play at important state occasions for heralding the entry of important state figures etc. This technique of choosing the brass to play at this point lends pomp and importance to the title appearing on the screen and our emotional response is to realise that this is an important moment.

There are more dissonant high-pitched intense chords with a high note in the violins. Then the main theme comes back with added choir singing in octaves on top adding to the texture. The mood creates the feeling something very bad is happening and we feel horror. There is also the conflict with the feeling of evil and sinful against the “church like” music.

The continuing ostinato (repeating motif) gives us the feeling of relentless driving. I think Stephen Sondheim has the intention of showing in the music, Sweeney Todd’s character relentlessly heading towards killing the judge.

When the pies are shown on the screen there is a build up of urgency in the brass as they come in with a two-note motif (repeated pattern) that increases in volume. This emphasises the images we see with a build up to what eventually is the slamming of the oven door.  This increase in intensity as the repeated pattern gets louder has the effect of making us sit up in our chairs waiting for the climax.

This happens when the door slams and the brass play an accented bass note down many octaves to the tonic of the chord. The tonic of the chord is the “home note”- or final note in a piece or musical phrase. Sondheim has effectively emphasized and coordinated this sense of finality with the imagery on the screen - showing the sewers - the very bottom. Contrasting this are the high screeches in the strings picture painting in the music - the mice scuttling around and squeaking.

Overall the music is used very effectively in the opening title sequence. It helps set the scene, the mood and tone and to help us understand the genre of the film. It underpins our emotional responses to the images we see.

B.) Genre/Atmosphere

Tone

The tone is to give us a feeling of what we are in for in the film; and in “Sweeny Todd” this has been cleverly created by symbolism relating to the film itself. Some examples are the cogs symbolising Todd’s thoughts and the ever-increasing globules of blood symbolising the growing number of Todd’s victims. The director, Tim Burton, uses dark and gloomy lighting, suggesting to us the overall tone of the film.

Part of the title sequence is from the point of view of Todd’s victims – falling down the “chute”, oozing out of the meat grinder, blood floating down the drain. Tim Burton wants us to experience the character’s point of view without actually showing the character. As we are only shown images and not people, Burton wants us to feel apprehensive for what is to come and also to give us a fear of the unknown.

There is a disorientating feeling is of falling for example the Victorian style silhouette pictures have blood dripping down and the title "Sweeney Todd" appears to fall and the blood down the sewers. Burton is suggesting to us the idea of Todd’s victims falling .

In the title sequence Tim Burton wants to take us through a series of feelings. He has done this firstly by utilising dark monotone images of London. It is a gloomy and grimy city, which makes us feel threatened and that we are entering a “dark” place not only physically, but also in what is going to happen. Following this, he wants us to feel scared by following the trail of dripping blood and then horrified as you wonder how the pies are being made when blood sizzles from beneath them in the oven. Burton lightens the tone slightly by the fact that it is partially cartoonised.

Tim Burton in conjunction with the composer, Stephen Sondheim, has used the music very effectively to enhance the various emotions throughout the title sequence. The eerie music at the beginning is to create a tense feeling of anticipation and then there is a feeling of heightened emotion and unease, created by the dissonant chords with the string ostinato above. The Horror feeling is created by the high screeches in the strings - a technique that is often used in horror films. The brass then add fullness to the sound, which intensifies the tone and then climaxes when the title of the film is shown.

The font of the title and credits for the actors and people involved is in Gothic font. This reflects the Victorian time in which the film was set and gives the viewer a better sense of the tone and setting of the film. The writing is white on the dark lighting which stands out and shows the people are involved are important. Then the title “Sweeney Todd” is coloured red. By doing this, Time Burton has cleverly made us realise that the blood is connected with the man Sweeney Todd himself and signifies the excessive and possibly gratuitous amount of blood used in the film.

Mood

For me, the mood of the opening sequence reflects very much what I think the Director’s intentions are.  To begin with I felt tense and quite cold with the dark images of Victorian London and the sound of thunder is threatening and suggests something bad will happen. A feeling of uncertainty follows this as the camera zooms up to house. The sound of blood splattering on the window and dripping and oozing through the cogs made me want to shiver in horror. I started to feel grossed out because it is quite realistic.

This was balanced by the fact that the images are partially cartoonised, which then made me question the reality of the film and my mood lightened a little. Because there are no people in the opening sequence and the images are hints of what happens I was also intrigued as to what might follow. When I saw Alan Rickman’s name (Judge Turpin) by the barber’s chair it made me question what the chair was going to be used for and what it all really meant. Later we discover it is the place of his murder. I found the contrast of the dark lighting and images against the bright white text made me focus on the text and then when the title “Sweeney Todd” was in red it made me think more about the oozing blood and I felt more disgust.

The cold, dark feeling from the beginning transmogrifies to a warming sensation as the pies are being cooked in the oven. Seeing blood oozing and sizzling from beneath the pies I started to suspect what was really in them and what might take place in the film. I thought about the smell of the sewers and felt sick seeing the rats scuttling around. 


I felt the sense of falling watching the images, blood, mincemeat and text falling down the screen. This anticipates Todds' victim’s fall through the barbers’ chair after having their throat cut.


The music underpins all of the images and emphasises what I felt to a very large extent, this is because as a musician I am very aware of what I hear, as well as what I see, when I “watch” a film. The music effectively enhances the visual impact of the opening sequence.