When it came to producing my portfolio for the course, it was important to me that each piece of work submitted, was completed to the best of my ability; meeting all outstanding deadlines for the coursework. The portfolio I have created is comprised of a textual analysis, location report, screenplay with annotated shot types and finally the 9 key stills for my prequel. There were several reasons for the production of the screenplay. The purpose of it was to communicate the resolution of a prequel to my selected film, Source Code. A reason for doing this was because it links strongly to my macro area of narrative, which I explored in the textual analysis. My focus of the textual analysis were the films Mr Nobody and Source Code. With this in mind, I felt it would be more appropriate to create a prequel to one of these films, allowing for a more effective connection to the narrative. Through the use of my script, I tried to explore additional aspects of my thesis statement, communicated in my textual analysis. This was about how both films conform and defy to the classic hollywood narrative; in addition to adapting in various ways, in order to meet the needs of the postmodern audience.
Whilst creating my 9 key stills, the aim was to capture the iconic moments expressed in my screenplay. These moments would also need to reflect the narrative aspects of the films I explored in my textual analysis. In some cases they act as a display of my understanding and knowledge of the narrative in the film Source Code. I feel I accomplished this through several means. The first being my selection of location. As the scene is a hostage scenario, I felt the key to the location was to reinforce the concept, by acting as a realistic representation of the events that occur throughout. Promoting a more realistic scenario, makes it more believable. The reason I tried to make it as believable as possible, was to ensure the audience is more inclined to follow the narrative being communicated in the scene. If a realistic vibe is not established, people are less likely to hold interest. Through the use of costumes and actors, I was able to create characters you would feel sympathy for, and even those you grew to hate. For example, the henchman’s sadistic facial expressions and use of a pistol, helps in establishing the audiences desire for retribution and his portrayal as a character to fear. The hostages on the other hand emit a sense of sympathy, by putting bags over their heads and cable ties to bind their hands. The sympathy is generated on the basis it renders them defenseless and in a position of weakness. The same can be said about the camera angles used. Especially in key still four, the low angle emphasizes the henchman’s height in relation to the kneeling hostage. This communicates power over the hostage, another feature which places the hostage in a position of weakness.
In order to communicate the knowledge gained from the textual analysis further, I expanded on already existing narrative threads; located within the film Source Code. One example of this in the key stills is through the use of props, under the micro aspect, misc-en-scene. This is demonstrated by train blueprints in key still seven, used by the terrorist in the original film to destroy the Chicago train. Narrative threads have also been conveyed by using pre-established characters in the screenplay, such as Dr Rutledge and Derek Frost. This corresponds with my thesis statement, on the basis the audience connects the character’s actions in the prequel, with their previous personas established in the original film. In this scenario, Rutledge is conveyed more so as a villainous character, by playing on his strong ambitions for the Source Code project to succeed. In this scenario, it is used to promote his ambition as impatience rather than a positive quality for the greater good, but more self-gain purposes. In doing this ensures the thriller genre follows from the original film, into the prequel. It brings to light new information, causing the audience to question what they already know, and leaves them guessing how the scene will progress and end; this way meeting the demands of a more sophisticated postmodern audience. Similarly to Source Code, the prequel resolution makes the audience piece together the situation as the scene’s scenario develops.
The location report was essential in determining the most suitable and accessible location, for the 9 key stills. It was important that the location matched the setting described within the screenplay as closely as possible. After scouting many areas in and around Dartford for a suitable location, I came to the decision that an empty warehouse in Gravesend was the closest in description. The best features were the overhead metal walkway, which allowed for alternative high angle shots (as seen in key still 8), as well as the large open space for flexibility in reference to the placement of actors; in addition to promoting an eery atmosphere. Only when creating the location report, did the aspect of lighting come to my attention. This allowed me to make decisions on specific matters in relation to the production of the 9 key stills, such as the time of day to take the photographs, and the use of a floodlight to emphasize the surrounding darkness. After evaluating what the limitations would be with the location, I found it more practical to alter segments of the screenplay than try to apply these features. These were things such as having to run the floodlight cable up into the walkway, as there were no functional sockets on the ground floor. Another alteration that needed to be made was the actual use of the flood light, as the fluorescent lighting in the warehouse wasn’t effective enough, leaving some characters in darkness. The main benefit of creating a location report was that it allowed the creation of the key stills and development of the screenplay much easier. It highlighted any complications, instead of having to encounter them on the day and try to work around them.
I believe the final screenplay and 9 key stills have been very successful in achieving the aims they set out to. The main aim being the communication of my macro element (narrative) found in the textual analysis. They also demonstrate my understanding of narrative, by including the key components needed to generate an effective narrative that corresponds with the film Source Code. In my opinion, they could have been improved by spending more time in the planning stage, to ensure no errors would have occurred. This is in relation to small continuity errors present in other key stills I could have used, but couldn’t as a result of this. In conclusion however, I see the overall portfolio as a great success, and am very pleased with the outcome.
