Welcome to the blog of Rasam Productions and Full Throttle Distributions Sam Pollock (The Director) charting the evolution of the opening to the new feature film "Wrenched" jointly produced with Rob Shaw (The Producer) and Asa Newmarch (The Cinematographer). You'll be able to see the final cut on my YouTube channel as well as various short videos and vodcasts/podcasts right here on this blog! Enjoy and please feel free to comment/add suggestions!

Wednesday, 19 January 2011

ALL - Deconstruction Round-Up

After watching our 20 film openings we have pulled a range of ideas from several different films together, we have put together The Top 5 best ideas we have picked up:

  1. POV shot used from the original Halloween (John Carpenter, 1978): This is the shot when Michael is a child and goes into the house to kill his older sister. We see the knife in the foreground and the girl in the background about to be stabbed by him. We have chosen this because imagination is better than what we can record because of our budget. POV shots also make the film more immersive and draw you in more.

2. The Narrative Enigma used at the beginning of Nightmare on Elm Street (Wes Craven, 1984). This sequence of shots is amazing for us, when Freddy is constructing his glove contraption, we don't see above his shoulders once which is the idea we implemented into our film opening. Using this technique we can conceal the mans identity, this will make the audience think he is the killer when infact he isn't.

3. The False Scare after the opening of Scream (Wes Craven, 1996) The Jock boyfriend, makes his girlfriend jump by putting his hand on her shoulder, the audience think that it is the killers hand on her shoulder but it is his instead, a useful twist.

4. The Mise en Scene in the opening of The Texas Chainsaw Massacre (Tobe Hooper, 1974). This uses it to a good extent, it makes you wonder what has happened to the corpse and also what the flashing in the back ground.

5. Dutch Angles used in the opening of My Bloody Valentine (George Mihalka, 1981). The whole aspect of not knowing who the people are, mixed with the narrative enigma of not being able to see their faces makes this opening very successful. 

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