Freedom & Liberty

By its very nature, film is an extremely valuable way of introducing and discussing topics in philosophy.

What does it mean freedom for me?

• be able to create what you want
• be able to do what you want
• when you're not scared about other people's opinions
• freedom of choice as I had this freedom all my life

Symbols of freedom
shoes
smile
camera
energy for life
imagination

BRAINSTORM

Freedom & Liberty

• be independent
• freedom of choice
• freedom of speech
• breaking frames of your thinking
• imagination
• travelling
• a joy of life
• imagination
• creativity

Micro cosmos resonate macro cosmos.
Details create the feelings/emotions.
Provide questions and don't give the answers.

Initial idea

Freedom of choice

1. A man finished his boring job in the office. (negative)
2. He is waiting the train to go back home.
3. But suddenly he decides to have a fresh air in the park after stressful day at work and jumps into the train which goes to opposite direction.
4. He explores our beautiful nature which calms him down.
5. After nature exploring evening he is in the train station waiting for a train back home.
6. But is he is going to take this train or explore more adventures in the park? (positive)

The End


STORYBOARD

Final outcomes you can found on YouTube:

http://youtu.be/77IZrea2kgQ

Story Telling

McKee

1. Thou shalt respect thine audience

2. Thou shalt research

The writer and the art of story.
The story problem - the decline of story in contemporary cinema, theatre, prose.

3. Thou shalt dramatize thine exposition

The structure spectrum - beat, scene, sequence, act, story.
Mapping the story universe: Archplot, Miniplot, Antiplot.

4. Thou shalt layer a subtext under every text

The war on cliches.
Genre - limitations and inspirations.

5. Thou shalt create complex characters rather than merely complicated story

Character - the great debate.
Meaning - how stories mean: premise ideal, counter idea, controlling creation.

6. Thou shalt use neither false mystery nor cheap surprise

The substance of story - shaping the source of story energy and creation.

7. Thou shalt not use deus ex machina to get thine ending

A writer's method - the creative process from inspiration to final draft.

8. Thou shalt not make life easy for thine protagonist

9. Thou shalt take thine story into the depth and breadth of human experience.

10. Thou shalt not sleep with anyone who has more problem than you

Key Questions

1. What event starts my story so the crisis and climax must occur?

2. What is the relationship between the inciting incident and the crisis/climax of this story?

3. Do the inciting incident and the way in which it occurs make the crisis/climax eventually necessary?

4. The inciting incident occurs and creates branching probability. Given this, do you feel the ending you've designed absolutely must occur?

5. What events starts the story so that the protagonist must go into the action? Even if the action is saying, "I'm not going into action, " the protagonist must react to that inciting incident.

6. What does my protagonist want that comes out of this inciting incident? What drives the protagonist on? What goal must the protagonist accomplish? What has he/she failed to accomplish?

7. What position does the character meet? What are the sources of antagonism?

From what level of reality? Always try to create three dimensional stories in which conflict is coming from ALL THREE LEVELS OF REALITY. (Intrapersonal, interpersonal and extrapersonal)

8. Is the opposition equal to if not greater than the protagonist? The protagonist cannot be up against forces that he can easily handle and overwhelm. Do these forces really test him/her as a human being? Do these forces become so powerful and cumulative in their power that they are severely testing the deepest human qualities in this person?

9. As we move toward the ending, do we become more deeply involved? Not staying the same, not losing interest, but more deeply involved.

10. Have we grown to identify with and/or like the protagonist?

11. As we near the ending, do we feel an exhilaration/acceleration of action and reaction?

12. Does the action in the crisis/climax fully express my root idea WITHOUT the aid of dialogue?

13. Every movie is about one idea. How does each scene in the film bring out an aspect of that one idea, positively or negatively?

14. What is the worst possible thing that could happen to my character? How could that turn out to be the best possible thing? Or vice versa.

on Youtube: Adaptation
recommended movie to watch "the kiss of the spiderwoman"
strangers - short film shows that we all are human beings.
Spike Jonze film "How they get there"
"Birthday girl" meant to be comedy thriller (twisted genres) but did not go well.

Story?

No Conflict - No Story

Story elements
Character
situation
event
genre/plot

Genre?
action
thriller
comedy
drama
love story
adventure
horror

Seven basic plots
Voyage and Return
Rebirth
Comedy
Tragedy
Overcoming the Monster
Rags to Riches (slough millionaire)
Quest

Situation?
place
world
life                      of a Character

Character?
Personal motivation
Decisions that drives events

Events = CHANGE

Story Events = Meaningful CHANGE in the life of the Character

Story Values

"... are the universal qualities of human experience that may shift from positive to negative, or negative to positive.

Action/Reaction increase tension.

Title Sequence

A title sequence's main function is to impart information to the viewer.

• title
• who's in it
• who made it

A title sequence's secondary function is to set the TONE and PREPARE the viewer for what they are about to experience.

A title sequence should be in keeping with the film it precedes, it should not seek to overshadow or upstage it.

Things to consider:

• legibility
• fit for purpose
• emotional response - creates a feeling 
• pace (speed)

Onscreen Layout

Hierarchy

A typographic hierarchy expresses an organisational system for content, emphasizing some data and diminishing others. A hierarchy helps readers see a text, knowing where to enter and exit and how to pick and choose among its offerings. 

Each level of the hierarchy should be:

• signaled by one or more cues
• applied consistently across a body of text.

A cue can be:

• spatial (indent, line spacing, placement on page)
• graphic (size, style, color of typeface)

Infinite variations are possible.

Typeface - In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyph s that share common design features. Each of a typeface has a specific weight. style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formely size, in metal fonts).

Saul Bass

This is example of Saul Bass title Sequence for a movie ''The man with golden arms''1955.

The key to designing and producing an effective title sequence is to fully understand the film.

Ask yourself:

• what is the movie about?
• what is it really about?

Read between the lines, what is the underlying theme, is there a subtext. What emotional response does the director require from the audience? 

Stephen Frankfurt ''To kill a Mockingbird'' 1962.

As you can see in Dr. Strangelove title Sequence by Pablo Ferro a font style is the same.

Persepolis title sequence is a reference to the historic city of Persepolis.

Here you can watch a video.

http://www.titledesignproject.com/2009/01/persepolis/

Kyle Cooper

Also there is very good example of title sequence by Kyle Cooper in Se7en 1995 movie.

Maurice Binder

Completely done by Maurice Binder who designed the original gun/shot title sequence that became the signature opening montage for James Bond movies.

Pat Gavin

Title Design - Pat Gavin's Title Sequence.

Tomato

http://www.titledesignproject.com/2013/12/basic-instinct-2-title-sequence-by-tomato/

http://www.tomato.co.uk/

MY PROJECT

Titles set the scene, often reflecting the genre, nature of theme of a film or television programme. In film they play an integral part in leading the audience into the idea or intention of the film. In television they often provide factual information, but it is important that they set a tone so that an expectation is put in place. 

I need to make at least 6 recordings, or still digital images, from television or videos of examples of good and bad titles. Also I need to choose a good range of examples to discuss for presentation. I can use video, still photographs and/or AV (Audio tape and slide show). Consider the differing styles, genres and subjects applied to television and film.

I need to produce at least FOUR original Title sequences from existing films and tv programmes: either one or two from Television Drama or News/Current Affairs, and the other two or three from Spaghetti Westerns, Bollywood or Thriller.

I can only choose one from each genre. Re-search into the genres, brainstormed ideas and storyboard. My produced sequences must be no longer than 30 seconds. I may use music or sound, but it must be of your own making or reinterpretation and not pre-recorded.


My Final Projects you can find on YouTube:
Blue Velvet by David Lynch Spaghetti Western "Once Upon Time in the West

http://youtu.be/ufcgf311YaE

Spaghetti Western "Once Upon Time in the West

http://www.youtube.com/watch?v=2gTyRb37DhM&feature=youtu.be

Friday Crits

Spaghetti Western

What could be improved?

·         Sound

·         Elements of humour

·         Shoot more details (Medium, long shot)

Character is very good.

I want to see more of his act.

Blue velvet

Video fits the genre and the movie

Entering pace was good

Sound played big role

This title sequence works very well for this movie

the moon shot was great