What Makes A Thriller, A Thriller? (Research and Planning)

Key:
Red- Camera/Shot/Angles
Light Blue- Mise En Scene
Pink- Connotations
Purple- Thriller Characteristics
Dark Blue- Sound/Editing


(Alien)

A thriller is a film that epitomises; excitement, suspense, thrills and  'edge of the seat,’ experience. It is hard to pin point exactly what the 'thriller' genre actually is; this is due to the wide variety of sub-genres in this category. For example, Sci-fi thrillers often pose a different goal. An exemplar of a Sci-fi thriller is Ridley Scott’s ‘Alien’ (1979). Alien presented a sinister and mysterious element, unlike any other that had been before, it immediately inspired many films such as 'The Thing' (1982) and soon after 'Predator' (1987). Its consistent tension throughout the duration of the film makes it a nail-biting experience. Just from observing the opening sequence we can see these factors fall into play in a gradual but gripping manor. The pan shot of Saturn, is a powerful extra-terrestrial setting, that leaves us feeling a sense of remote isolated exclusion. Its deep space setting enhances the dark approach and emotions given by the film,  and for its time a controversial and enigmatic thriller. In relation to our thriller project, Sci-fi isn't appropriate for this task and could prove too demanding on  the resources available. However there are aspects of the Sci-fi genre that we could include, Such as; slow panning shots and gradual fade of credits (as shown in the clip above).

On the opposite end of the spectrum are thrillers such as; The Usual Suspects (1995), Seven (1995), Heat (1995)  and Pulp Fiction (1994). All though said titles are fictional tales, they are centered around real life scenarios. This sub-genre of thriller is often referred to as crime/thriller. Crime based thrillers frequently establish their plots on the criminal underworld, ranging from sadistic psychotic criminals to corruption with in law enforcement and everything in-between.  There is no extra-terrestrial element to crime thrillers, the key factor that sets them apart from Sci-Fi thrillers. The clip below, is the opening sequence from the gritty, emotive film, 'Gone Baby Gone.'
For the entire duration of the initial sequence, we are guided through by a male narrator, it is unspecified whether he is the main character in this sequence, however from external knowledge we know he is. The use of off-screen narrations and a powerful non-diegetic soundtrack creates an atmosphere of sorrow and grief. Throughout the duration of the sequence we solely see characters- possibly even real life individuals- in a clearly impoverished town or neighbourhood. The shot sizes vary from a close up (of the main character) to medium long shots and long shots of secondary characters. However, the shot composition holds the person or persons in the frame as the main focus of the shot, this helps to create some level of intimacy for the audience, and confronts them with the questions, 'who these people?' are and 'what's their significance?'. The sequence is set in the day time, making; surroundings, decor, body language and facial expressions clearly visible. From observing analytically we can decode the facial expressions and body language of the characters as either content or bitter, despite this we see a sense of community in the mist of a sinister event. As we progress towards the end of the sequence, a picture of a young child is revealed. Shortly after that we are introduced to mothers and their children and then law enforcement, introducing  a link between the three social groups... Possible abduction? murder case? or child abuse?
This a prime example of how directors include subtle connotations in order to create an enigmatic and dramatized environment.

(The Zodiac)
One aspect all thriller genres share is the use of antagonists and protagonists to create binary opposition. We often see a social reprobate as the antagonist clashing with a justified protagonist. A good example is David Fincher’s ‘The Zodiac’. (2007). The sequence displays a sinister figure savagely murdering two innocent young adults. Before the homicide takes place, we are given the impression that the female character in the sequence isn't being honest. Her facial expressions and dialogue tells the audience that she is in fear of something or someone and is with-holding some knowledge. This again attributes to the enigmatic element of the sequence, what does she know? As the clip progresses we are introduced to a dark car, the lighting on the car restricts us from seeing the driver. The driver then speeds away  This exacerbates suspense and strongly provokes the question 'who is this character?' For any member of the audience it raises enigmatic questions such has; ‘why were they killer?’ and ‘who did it?’ A successful well designed thriller, will make these questions more unanswerable and unpredictable right until the final outcome.
in context with our project, films such as the zodiac have fundamental but crucial aspects worth including. The devious persona the female character portrays in the opening scene, constructs unusual suspense but builds a tense lead up to the climax.


(End Of Watch)


Another sub-genre of thriller is drama/thriller. A drama/thriller is often similar to a crime thriller, the subtle differences are self-explanatory, a drama/thriller doesn't always contain a criminal aspect, however it is unusual to find a drama/thriller without any element of criminal activity. The clip above is the opening scene from 'End Of Watch'. (2012) although similar in genre to 'Gone Baby Gone' there are a number of contrasting differences. One noticeable difference is the use of camera work. The entire film is either shot from a POV (Point Of View) angle or hand-held device. In the clip above we observe the camera positioned at the front of a squad car (police car), although, there are frequent cut scenes throughout the sequence, the camera shooting is solely based from the front of the car. Presenting the film in this way builds a significant effect on the audience, it grips you to the screen, creating tension, anticipation, suspense and most importantly realism. For example, in the opening shots, we are introduced to a pursuit in which composition of the frame places the two vehicles at dead centre, however still allowing room in the frame for surroundings, secondary vehicles and decor. This helps establish the environment in which the chase is taking place. It's uncommon to see an entire sequence shot at one camera size, but it proves to have a unique and intense effect in this particular situation. From the outset and through out we are informed by a male narrator, this monologue constructs a surreal and dramatic atmosphere, also clarifying it is in fact, a police pursuit. This original and unorthodox use of camera work has potential for use in our project.

This opening shot is from Alien (1979). It is clear that the setting is based in space, through elements  miss en scene we can see a planet with stars surrounding. The composition of the camera frame helps to highlight the dark setting the opening is trying to establish. By using dimmed lighting techniques we sense a sinister and evil atmosphere. At this specific stage of the opening we are introduced to a non-diegetic soundtrack, the sound-track is slow moving and has a tainted aspect to it. With the soundtrack and initiation of a slow panning shot traversing across the planet gives a subtle but impacting vibe to the audience. the white rectangular shape situated at the top of the screen is the initial title sequence. although we are aware of the title, it helps to construct an enigmatic atmosphere.

This is the final shot of the pan shot, the title is fully visible after a slow emersion. As you can see the setting hasn't changed, we are still observing an empty, sinister exclusive environment. creating an eery feel. at this point of the sequence the soundtrack reaches its climax and then terminates, leaving the audience with the question of what will happen next.

The shot on the left hand side reveals a change of setting from outer space to the interior of a space vessel. We can see a significant prop centred in the middle of the frame, making it the primary subject of the shot. The use of back lighting which seems to be at around 50%, leaves parts of the helmet in a shadow. The lighting around the rest of the vessel isn't bright also leaving shadows in other places. At this particular part of the sequence we are introduced to distinctive diegetic computer sounds and no soundtrack. This emphasises the silent secluded atmosphere. the prop is postioned at a BCU, the composistion of the helmet in the frame doesnt allow you to see any lower than the bottom of the helmet, not revealing whether a human character is wearing the helmet. Again implying that enigmatic element.

 In this next shot we are introduced to an eye-line match of the helmet. we now know that there is no character occupying the helmet. however the positioning of the camera implies the helmet is functioning and working without human occupation. portraying a futuristic environment for its time. While we are observing the helmet we can hear off-screen and diegetic sounds from a computer, combined with the dark lighting we feel a strong sense of darkness and environment without human characters. Ridely Scott the director has creatively constructed an enigmatic atmosphere, with many unanswered questions for the audience. in relation to our project, aspects of camerawork used from this sequence would be effective and useful to interpret into our own.

Gone Baby Gone (2007)

In this Initial shot of the crime, thriller 'Gone Baby Gone' we have an establishing shot, introducing the audience to the setting and environment the film is based. We see blocked, semi detached housing, automatically we know the setting is based in a town or city, most likely to be largely populated and therefore prone to criminal activity. There is natural lighting reflecting of the housing, denoting a positive atmosphere

Again we have another establishing shot, this time the lighting is distinctively different to the previous shot. aspects of Mise En Scene reveal to us that the sequence is based in the united states- due to the use of the obvious American flag composed on the right hand side of the frame- we also know that it is set in an urban envirnoment, most likely a large American city. The application of the Flag implies patriotism and pride this is express through the size of the flag in the frame.

 The shot to the left introduces us to the first character. It is is shot at medium close up (MCU) however through the use of props, the characters face is restricted and we can only visibly observe the male smoking and an eye-line match. The non-diegetic and off screen soundtrack adds an emotional and disturbing element to the shot. the use of facial expressions portrays the character to be mourning or in unpleasant thought. the intentional positioning of the plank of wood beside the characters face keeps his other facial expressions unexposed.

In this particular shot we are shown a church building. Stereotypically a church is supposed to be maintained and clean, however the use of decor defies this stereotype, as we can clearly see an impoverished building. to the far left hand side of the frame there is a mother and child. the mothers costume is informal and quite masculine- her vest is sleeveless and her tracksuit bottoms are loose- again cleverly emphasizing poverty through strong application of mise en scene.

Here we have an extreme long shot (ELS). on the left hand side of the camera frame, we can identify a factory of some description possibly implying a industrial based town; i.e Detroit or Boston (United States). The use of lighting has a strong impact on the audience, the capture of the natural lighting creates a realistic environment, the buildings from the city have shadows spread across them, but the sky is luminous, as if to portray the city in a tainted manor.

Another image revealing an impoverished town. The decor is plain, run down, brown wooden panels. There is a sign posted on the front advertising 'Free Bread' again connoting poverty through clever application of Mise En Scene

This is the first obvious introduction to the main character. He is informally dressed, wearing a tracksuit jumper, trousers and a vest, implying he is housed in the established setting, this one of the few shots were children have been centred in the frame. The camera movement is a fast paced tracking shot of the character, at MCU/CU, positioning him in frame in a way that the audience views him as standing over the children. This could imply his profession is that of a; policeman, undercover detective, fireman or solider. As highlighted before this is just one of the shots using children as props meaning that they could be primary subject of the film.

Hear we have a CU/BCU of a photograph. The photograph is of a young child, around the age of 3-4, the image is outside implying it is a photo for the public to observe. This shifts us more in the direction of a child abduction or murder. The young child's facial expressions and facial features create an innocent and adorable persona for the audience, also constructing sympathetic and empathetic attitudes from the audience.

In context to our project, genres such as crime/thrillers are ideal and most appropriate for the film we are going to produce. The use of well structured enigmatic elements in 'Gone Baby Gone' makes it an entertaining and memorable sequence.

(Zodiac)

 This is an establishing shot of a city, within the camera frame we can tell the time of day is night time, and that there is an annual celebration underway in the city, this is displayed through the use of fireworks. although the lighting is dark, the capturing of night lights and natural scenery creates a positive atmosphere. the sound we can hear is a non-diegetic off-screen soundtrack, the music is light and holds no suspense.


Hear we have a MCU/MS, in the frame is two characters, a male and a female. In this shot we can see the female character is well dressed and attractive- abiding by the female stereotype- her facial expression tell the audience that everything isn't copacetic. when see observes the road behind her through her car mirror her expressions change, she looks scared, spooked or threatened. however the way the director has presented the shot restricts the audience from seeing what has; scared, spooked or threatened her...

…The female character says-through dialogue that she doesn't want to eat at this particular place and instead would like to go somewhere quieter and excluded, implying she would like to go into hiding. The male character-oblivious to her secret fear- agrees to comply.

This shot shows the two characters driving into a car park, the use of lighting gives an erie atmosphere and the fact that its night time with not many people around creates a suspenseful tense environment. the back lighting in the shot places the female character in the 'spotlight' so the audience will focus their attention on her.

At this point in the sequence, a unidentified car pulls into the car park behind the two characters, stops and turns their head lights off. from observational point of view you start to ask the question of who this person/persons are and why are they watching the couple. the lighting is very dark-next to none- helping to add anonymity and suspense.

The camera then alternates with a Shot Reverse Shot (SRS) to and from the car and the two characters, the lighting in this shot is noticeably clever, it only highlights half of their faces leaving shadows on the top half of their faces. This restricts the ability to see facial expressions and adds a sinister element.
 

After a small duration that the mysterious car was parked behind them, it suddenly drives off. The two characters, bewildered and confused, watch the car drive off into the distance. The male character starts to gain some inclination that the female character might be with holding some information from him. He asks her. "Was that your husband Darlene?" This line of dialogue puts into context the relationship the two characters are in. It is clear from the facial expressions of the female that she is extremely frightened and  she feels someone is threatening her life.

Shortly after ephemeral conversation, the mysterious character turns his car around very swiftly and races back to the two characters sitting in their car. He then gets out and shines a bright spotlight into the car in order to observe them. This is a tense part to the sequence as the camera view restricts you from seeing who is holding the spotlight. the two characters looked stunned and even more frightened.