Blog 5- Extension task

Q1) What does Thomas Sutcliffe mean when he says:

 "Films need to seduce their audience into long commitment. While there are many types of seduction the temptation to go for instant arousal is almost irresistible".

 A: If the first page doesn't give you a hard one, says the veteran director Sam Fuller you should throw the thing away.

Q2) According to Director Jean Jacques Beineix, what are the risks of 'instant arousal'? 

A: That starting with something strong at the start, raises questions on what to do next. However the questions are never answered and that is the problem of making films.

Q3) Explain why "a good beginning must make the audience feel that it doesn't know nearly enough yet. and at the same time make sure that it doesn't know too little"

A: So it can interest the audience straight away and make them understand the tone of the film. At an early stage the audience can know what nature the film will be and establish many things at once to keep them engaged into the film.

Q4) What does critic Stanley Kauffmann describe as the classic opening? Why does it work?
A: Cliche opening: Establishing shot of New York City- usually seen from the west. Then a close up of building, camera going up the building to the window and then going through the window past the receptionist to the private office. There sat Cary Grant.
The reason why it works is because you have been told from a simple, classic process where the film is taking place, what the occupation of the hero was. He says you have been told of the organisation of the world that everything was in place. Cosmos orderly and that progress was irrational and expected.

Q5) Why is Kyle Copper's title sequence to the film Seven so effective?

A: 

•  It successfully told a story- introduced the obsessive, psychotic nature of the main character .
•  It foreshadowed a lot of things that were going to happen . 
• The psychotic energy of the titles proved more influential of the film itself.
• It was able to wake everyone up and make them feel as part of the film. 

Q6)  What did Orson Welles want to achieve with his opening to the film 'A Touch of Evil'? What did Universal Studios do to it? Why?
A; Orson wanted his sequence to seen without credits and title music. As he wanted the audience to get the audience plunged into the story straight away.
However the Universal Studios did't understand and they put a nice score underneath it and credits so the effect was lost. They did this as it all happened before the actual film began.

Q7) What is meant by "a favourite trick of Film Noir"? What is the trick?
A; It is like an ending but it is not really an ending. It feels like a destination as much as departure point looking ahead to what is to come. The trick is if you can't see it first time round it will be clear when we see the film again.

Q8) How does the opening to the film The Shining create suspense? 
A; We are first shown a helicopter shot and the camera pursues car as a predator from high up and behind. The camera is fixed on the tiny object and everything just says the people inside the car are just travelling in the wrong direction.