Day 1 of Filming

 Alright, day #1 of filming! Just like we planned out, Nico and I went to the gym straight after school to record footage. The gym was pretty empty, so we could use different areas and machines without impeding on anyone's personal space. Here's a step by step on how everything went down: 

1. We arrived at the gym at about 1:30 PM. No problems here, apart from leaving a water bottle and the wireless mics in the car, leading to a (somewhat shameful) walk back or two.
2. We captured footage at the gym, making sure to overshoot. 

    This day of filming went by pretty smoothly, apart from some major hitches. Nico wasn't dressed in the proper clothing for the gym, so we weren't able to film any of Ryan's interactions with his gym buddy. Additionally, we didn't have the flyer advertising the powerlifting meet prepared. While we still got some shots in, we will have to spend another day filming at the gym. If there's anything this session taught me, it's that I should definitely put more effort into planning. Keeping a checklist to make sure everything is on pace is the way to go.

Short blog post for today, but here's a silly video from the gym:

Not my best appearance, but it was still fun to record nonetheless. Tune in next time!

Setting Up the Study

    In our film opening, I want to indirectly convey Ryan's (the protagonist's) dedication to weightlifting and medical school overall. To capitalize on this "show, don't tell" approach, mise-en-scene elements such as set design are essential. Luckily, my brother is in college, and there is a study room going completely unused. To plan out the changes that need to take place, here are a few of the shots that will take place in this room:

1. Ryan weighing himself on a scale
• Simple enough, my parents have a digital scale that I can move into the room.
2. Light seeping in from the window 
• While this sounds easy, this one might actually be a little bit more tricky. The point of this shot is to establish the time of day, which would be around 9-10 AM. I want to utilize natural lighting for the room, but still keep things darker to reflect Ryan's own mentality: unhappy, alienated, etc. The room's curtains are a translucent beige, which might provide the scene with an unwanted warm tone - a little too 'home-y' for what I'm going for. For a colder setting (and more control over light), I'll change out the curtains for blackouts. 
3. Ryan typing onto his laptop, logging the fluctuations in weight that is expected from his condition
• Again, just put a laptop into the room. Simple.
4. Long shot of the room, revealing diagrams and sketches of the human body
• Easy, but time consuming. To portray Ryan as a 'homemade' researcher, I want all of the images to be done by hand, showing that his studies are completely independent. This one might take a bit.
5. Medium shot of Ryan measuring himself in the mirror, noting changes in size.
• While finding a good spot for the mirror might be a little tedious, this shouldn't be much of a hassle

    Now that we've established the shots, here's the plan. 
I want to remove all colorful objects in the scene, hoping to portray Ryan's life as dull and uninspired (for now). On top of that, I want to remove all musical instruments from the frame (my brother previously used the room as a recording studio), as to not mislead the audience into assuming Ryan's character traits. 

    Hello! Sergio from the future here. I've made substantial progress on the room - just a few more finishing touches left. Here's how it looks:

    As you can see, all the vibrancy in the room has been removed, keeping this beige/white/black color palette. The room should look less warm once the blackout curtains and natural lighting is implemented. This process turned out to be pretty tricky, since there was a lot of clutter prior to my refurbishing.  Behind the camera, a bunch of instruments, boxes, and cabinets are hidden. With minimal storage, a lot the mess is kept barely out of frame - this really showed how only the section being recorded really matters. With clever shots and angles, nobody would even suspect the mess.

    A few steps left: clearing out a few more instruments (& the portrait of Jim Morrison), adding the mirror for the measuring scene, and filling the walls with diagrams and sketches of the human body. 

As for that last part, I plan on documenting the sketching process with another blog post. Stay tuned!

Opening Filming Schedule

Before we can get to recording, Nico and I spent today figuring out our schedule. We had already done a rough timeline to determine what we were doing on a weekly basis, but we had to go into more detail for filming. Here's what we're working with:

• Nico's schedule is pretty packed, since he was out of town for the weekend
• We have to film in multiple settings (house and gym), with each location a sizeable distance from one another
• With the gym, we're hoping to film during less crowded times, so we are less constrained with our footage
• The study in the house still needed setting up, so that might be for a later time

With this information, we decided to split up filming into several days. On Wednesday, we would record at the gym, since we both leave school earlier (around 1 PM). That way, we can avoid rush hour and have ample time to overshoot - just in case. Unfortunately, we would have to record the house scenes the next week, which impedes a tiny bit on our editing time, but shouldn't be a major concern. 

Next on the roadmap: filming and setting up the house. Now that we have a game plan, (hopefully) everything should be smooth sailing. I'll update the blog on the whole production process, so stay tuned.

Lighting

    Today I will be looking into lighting, an essential but often overlooked mise-en-scene element in film. In my film opening, I intend on using a variety of differently lit environments, and I think it would be helpful to learn a bit more about lighting as a technique.

• Soft lighting
• Soft lighting utilizes diffused light, applying a gentler look onto the character. This form of lighting has the least amount of contrast, as there is less definition of shadows.
• Often seen in romantic scenes, as the technique "is often more flattering" (Joulin, 2024).
• Hard lighting
• As the opposite of the previous technique, hard lighting lacks any diffusion. With more aggressive lighting, heavier shadows are casted by the object or character, creating a sense of contrast.
• 
  Often seen in more threatening situations
• Three-point lighting
• Three point lighting is (in a way) a happy medium between the previously mentioned techniques. The technique aims to illuminate the character completely, "revealing their contours without distortion" (Joubin, 2024).

    In the context of my own film, I intend on using a combination of these techniques, alongside low & high-key lighting. As my protagonist is 'forced' to obsess over weightlifting due to his illness, I want to cast more dramatic shadows to indicate that the gym is not his pastime. Additionally, as he carries out his day, I'd like to use softer, more natural lighting to make the environment feel more believable in areas like his kitchen.

References

Joubin, A. A. (2024, September 4). Lighting. Screening Shakespeare. https://screenshakespeare.org/mise-en-scene/lighting/

Dialogue in Film

 Today we'll be looking at audio in film. Sound design is essential in setting tones and establishing an environment subtly. In my film opening, Ryan (the protagonist) will not only interact with other people in a variety of environments, but he will also be narrating his thoughts. I want to discuss dialogue and make sure I pull it off correctly. 

    Elements such as dialogue are surprisingly difficult to pull off. Some environments may be too large and echo-y to allow for a clear recording, or too loud. Without the proper equipment to capture the back-and-forth dialogue between characters, lines often have to be lip synced via dubbing. 

    According to Kyle Deguzman, ADR (automatic dialogue replacement) is "a specialized form of dubbing used primarily to correct or enhance the audio quality of a film or television production (Deguzman, 2023). This allows for more control over the audio itself, as external factors such as the environment are eliminated. This requires precise mixing and editing to ensure the audio is synchronized with the visual elements of the film.

Incorporating this into my own film opening might be especially tricky, but essential. I plan on filming in a public gym, which includes other people, the rattling and clanking of weights and machinery, and music. There are too many elements for me to carry out dialogue effectively, so I think ADR is the way to go. I have a pretty decent understanding of audio in music production, so hopefully the skills carry over. 

My closing remarks would typically urge you to find the topic of my post in the film opening (when it's released), but I realize ADR is supposed to go unnoticed. In this case, I urge you not to find ADR in my opening. Tune in next time!

References

DeGuzman, K. (2023, December 17). What is dubbing in film - language replacement explained. StudioBinder. https://www.studiobinder.com/blog/what-is-dubbing-in-film-definition/

Encyclopædia Britannica, inc. (2025, January 15). Dubbing. Encyclopædia Britannica. https://www.britannica.com/technology/dubbing-cinema 

Set Design

 Another mise-en-scene element I want to focus on during my film opening is set design. Set design can act as a more subtle way to develop the character though environmental storytelling and symbolic representations. In my previous post, I mentioned writing in favor of a 'show, don't tell' philosophy, hoping to naturally build my protagonist (Ryan). To do so, using the set is a crucial way to provide information without explicitly stating it. In this post, I'll be discussing key elements in set design.

• Color

• 
  Color is an often overlooked tool that helps subtly establish a mood. According to Esther C., "color palettes can evoke specific moods and enhance the overall them of the production" (Esther, 2024). For example, a predominantly white environment can represent sterility, which may be seen in a hospital or someplace unnaturally sanitary (eerily utopian). 
  
• In my film opening, I intend on using more muted colors to show the monotony of Ryan's life. As he spends all his research and effort towards fighting his disease, he doesn't get the chance to experience the more exciting parts of life. The muted environment would be symbolic of Ryan himself, who is forced to dedicate everything towards weightlifting. 

• Themes & Concepts

• The usage of "visual motifs and symbolism" can also help develop the setting and characters (Esther, 2024). To designers with more budget and resources, this could include the texture and pattern of a wallpaper, for example. Of course, I don't have that budget.
• One concept that I would establish through set design is Ryan's studies as a medical student. To help with his research, his room would be filled with diagrams and sketches - visual representations of his thoughts. Not only would this indicate that he is a medical student, but the set would help show the level of effort Ryan has dedicated towards fighting the disease. 

That's all for now! Tune in for the next post. 

References

C., E. (2024, August 28). Beginners Guide to Set Design. Tutti.space. https://www.tutti.space/blog/beginners-guide-to-set-design

Lackey, R. (2016, October 21). 5 common film color schemes - cinematic color design. CineD. https://www.cined.com/film-color-schemes-cinematic-color-design/

Character Development

When our film opening was in its earliest stages, we asked our teacher for advice and criticism. She posed the question, "why should we care?" For a story to be compelling, its characters must be equally appealing; an audience needs to be invested in the character to latch onto the story. Therefore, I want to discuss essential aspects of character development to incorporate into my story. 

• Motivations

• According to AJ Pearce, "if you want to make a character complex, you need to give them a deeply rooted motivation. Uncover this and you're halfway there" (Pearce, 2022). By understanding and defining the goals and motives of a character, you have the opportunity to then develop their flaws and strengths in a more natural way.
• In the context of my film opening, my protagonist (Ryan) is primarily motivated by fighting against his condition, a form of muscular dystrophy. As a result, he develops an obsession with the gym to maintain his health - without weightlifting, the condition would consume him. This naturally creates both a strength and a weakness: Ryan is incredibly dedicated to his work, yet struggles to find enjoyment as disease controls his life.     

•  Gradual Development

• All the details about a character shouldn't be frontloaded upon their introduction. Instead, they should be gradually introduced and shown using the character's actions and words. By following this practice, the character could more naturally develop "not unlike the way people get to know one another in real life" (Brown, 2021).
• When planning out my film opening, this was a major concern to me. I was trying to find a way to seamlessly establish his dependency on the gym, and that he views weightlifting as a 'necessary evil' rather than something more enjoyable. I felt that explicitly stating his condition and its characteristics would be unnatural, so I opted for more subtle cues and hints. In the film, Ryan will be shown measuring himself, documenting the changes in size and weight of his body. By showing abnormal fluctuations in muscle mass, the audience could be hinted towards the nature of his condition.

Naturally, there are many aspects to character development, but I wanted to address the two that I felt would be especially helpful to brush up on. Hopefully, you can see these elements shine in my film opening.

References

Brown, D. (2021, August 26). How to develop fictional characters: 8 tips for character development - 2025. MasterClass. https://www.masterclass.com/articles/how-to-develop-fictional-characters

Pearce, A. (2022, April 10). AJ Pearce on writing a complex character: The blog: The novelry. The Blog | The Novelry. https://www.thenovelry.com/blog/writing-a-complex-character

Film Opening 'Script'

 The film opening is slowly coming to fruition. In this post, I'll be discussing the script and narrative beats in the opening. This is only the first rendition of the script, so expect a few changes between this and the finished product. 

Scene 1: Ryan's room & bathroom

    Ryan: measuring each arm, logging changes in size and body fat into a notebook. Muscles are carefully analyzed in the mirror, gauging insertions and overall appearance.

Scene 2: Ryan eating by the kitchen 

    Ryan: Today is February 20th, 2025. There tends to be a negligible difference in muscle gain when comparing half a gram of protein per pound of body weight and one gram. Chicken, naturally, still maintains its spot as one of the best sources of protein, considering its leanness and protein density. 

Ryan's narration is interrupted by the ringing of a cell phone - it's his friend Daniel.

    Ryan: Yo, what's up?

    Daniel: Hey man, you on the way to the gym yet? 

    Ryan: At 5? It's super packed at this time

    Daniel: Relax bro, I'm in the parking lot right now, it looks practically empty

    Ryan (with a sigh): Alright, I'll be there. 

Scene 3: the gym 

    Ryan and Daniel are lifting in an obviously crowded gym. The sounds of the gym fade as Ryan's narration returns. 

    Ryan: Contrary to Daniel's astute observations, the gym was not empty. On the bright side, I get the chance to experiment with bicep workouts. The incline bench curl seems to take first place in activating the short head, but maybe a cable could help in maintaining tension throughout the entire movement...

As Ryan walks through the gym, he catches sight of a flyer: a powerlifting competition. While he's intently reading the flyer, Daniel sneaks up and surprises Ryan.

    Daniel: Whatcha lookin' at?

    Ryan (frantically stuffing the flyer into his pocket): Jesus man - it's nothing

    Daniel: If you say so. Come on, it's your set!

Ryan and Daniel finish their workout. Daniel says goodbye to Ryan, leaving the gym. Ryan takes the opportunity to bring the flyer to the counter up front, looking for details.

Scene 4: the counter

Ryan approaches the worker, hesitant

Opening ends before Ryan asks about the lift

That's the current script! I'm not entirely sure how it'll work under the time constraint, so this is certainly up for revisions. Check in on some future blogs to see how it works out.

    

    

    

Todorov's Narrative Theory of Equilibrium

 Today we will be discussing (as the title suggests) Todorov's Narrative Theory of Equilibrium, which I am looking to incorporate into my film opening's story. 

    Todorov's theory suggests every story is divided into parts, with "a clear beginning, middle and end" (BBC, 2022). This is very similar to the 'hero's journey' structure seen in many narratives. The three sections of the story I want to focus on are:

1. Equilibrium
1. 
   This is the opening of the story, in which the conflict is yet to be introduced. Both the setting and characters are established, with little momentum to the story itself. Think of the start of Tolkien's "Lord of the Rings: Fellowship of the Ring," in which Frodo lives peacefully in the Shire 
   
   
   
2. Disequilibrium
1. This is the point in which the primary conflict is introduced, offsetting the balance of the protagonist's everyday life and setting the 'adventure' of the story in motion. If we're using the LOTR analogy again, this would be the quest to destroy the One Ring. 
3. New Equilibrium 
1. In the 'hero's journey,' this would be referred to as the resolution of the story. The primary conflict has been addressed, and the protagonist's life can return to an equilibrium. If the disequilibrium was Frodo's quest, the new equilibrium would be life after the ring has been destroyed.

Within the context of my own film opening, the equilibrium would be life prior to Ryan (the protagonist) finding the powerlifting flyer. This equilibrium would not resemble the tranquility of the Shire, however; Ryan's previous life is mundane and repetitive, dictated by his disease. The disequilibrium (the powerlifting meet) would be Ryan's opportunity to look at weightlifting in a positive light, finding a community and finally stopping DD from restraining him. Once he competes, his narrative can reach a new equilibrium, one much happier than his previous circumstances. 

    While Todorov's theory is not overly nuanced or specific, identifying the key shifts in my own narrative can play a major role in pacing the overall story. The film opening will only take place during equilibrium, with the ending hinting towards the disequilibrium. As the theory suggests, the opening will mainly focus on introducing the characters and setting.

    

    That's all for now, tune into the next post!

References:

1. BBC. (2022, December 14). Traditional narrative theory - what is narrative? - GCSE media studies revision - BBC bitesize. BBC News. https://www.bbc.co.uk/bitesize/guides/zqdhrdm/revision/3

2. Miyamoto, K. (2019, November 4). The hero’s journey breakdown: The lord of the Rings. The Script Lab. https://thescriptlab.com/features/screenwriting-101/12313-the-heros-journey-breakdown-the-lord-of-the-rings/ 

Group Meeting #1

Today, our class divided into groups, meeting up to discuss our plans for our film openings. Each of us pitched ideas, providing each other with feedback and criticism. This was a great opportunity for me, since I felt my plot/story needed some extra development. 

I was stumped looking for better ways to develop my character without explicitly stating or portraying his traits. One of my classmates, Tiziana, suggested the library as a film location, showing his dedication towards studying as a medical student. I thought this was a great idea, which also provided more filming locations to spice up the opening.

Another piece of advice that stuck with me wasn't actually directed towards my opening, but rather one of my peers'. She's planning on filming the opening to a period drama set in the 1800s, using dresses for her costume design. This posed the question, how could I use clothing to develop characters in my film? Ryan, my protagonist, is shown living a repetitive, monotonous life. I think this could be better conveyed through darker and simplistic outfits; grey/black t-shirts and sweatpants, hoodies, etc.

While I'm still figuring out the specifics in my film opening, I think this group meeting was a huge step in the right direction. Getting the perspective from my other classmates was super helpful, and I'm looking forward to regrouping and discussing our openings again.

Film Opening Idea

    Distal muscular dystrophy (DD) is a condition marked by the progressive degeneration and weakening of muscles, particularly the in arms and legs. This is the affliction the protagonist from my film, Ryan, suffers from. To combat DD, Ryan resorts to bodybuilding, hoping to prevent the loss of muscle caused by the disease. Weightlifting is not a pleasant recreational activity to Ryan, but a necessary evil in order to live a normal life. He needs to obsess over exercise and dieting for survival.

    The film opening will aim to showcase the repetition and precision in Ryan's life; his research on DD as a medical student, the measurement of each calorie that enters his system, the control of every rep in his exercise. We don't want to portray the gym as an escape or an opportunity for mental wellness, but rather the opposite - a constant obstacle Ryan needs to address. 

    Working out at a public gym, Ryan finds a flyer to a powerlifting competition, which is his opportunity to reinvent his perspective on the gym. After the film opening, powerlifting will give him a sense of direction and a community to share his interests with, shifting his mentality on the gym entirely. 

This plot is still in the works, and the details of each scene are still in progress. Here's a mind map on certain story elements I want to explore:

That's all for now! Stay tuned for more updates on the film opening.

 

Titles & Fonts in Film

 In researching both credit sequences and movie openings, I've noticed a variety of fonts used in the title and the credits. In this post, I'll be discussing different fonts and how they reflect the films they are used in.

    Both Rocky (1976) and Warrior (2011)'s title fonts are nearly identical, boasting large, white text, occupying most of an otherwise black screen. Rocky's title is especially interesting, as the text is (in a somewhat literal sense) larger than life; the text slowly scrolls across the screen. 

    Both of these movies are similar in premise, showcasing the story of an underdog who looks for success in the fighting ring. While there are similar, overarching concepts, the introduction of each character are nearly opposite. Rocky Balboa is first shown in the middle of a fight, living in an urban city. In Warrior, however, a quieter life is initially depicted, without the protagonist at first. Once Tommy appears on screen, he is introduced without any action or dialogue.

    In my personal interpretation, I believe the assertion of the font help symbolizes the ambition of the character themselves. As I mentioned before, both Rocky and Tommy start from humble beginnings; the scale of the text is contrasting to their initial lives outside of the limelight.

From what I've seen, the most common approach to the title's appearance is through white text against a black screen. This allows the film's title to be the focal point for the viewer. It's an obvious pick, as the choice of color is the most severe contrast. One film that plays around this concept is Alien (1979), which uses the darkness of space to make the title stand out. The title begins to slowly appear, line-by-line, as the credits begin to play out. By allowing the title to develop separately, the word "Alien" is initially unrecognizable. By the film's opening, there is already a sense of mystery and tension as the title develops. Despite using a simple, white font, the title is utilized to set the tone of the film. This is, of course, done through the use of auditory and visual techniques as well, but my point still stands.

Portfolio Schedule

    With roughly two months to get the entirety of the portfolio down, it's important that I plan out the process so I know I'm on good pace. Here, I'm going to be outlining my work on a week-to-week basis. 

    There are three components to the portfolio: the opening, the blog, and the CCR. The opening will take up the bulk of my efforts, considering how many factors are at play. I have to consider writing, filming, editing, research, etc., so most of my time will be allocated to this. Once the opening is nearing its finalization, I can move on to the reflection, which will be the last stage in the portfolio process. Throughout both of these steps, the blog will play a major (but more passive) role in documenting all aspects of the portfolio itself, so I don't need to allocate any time to it exclusively.

    With 46 days (as of Feb 7) till the portfolio's due date, here's a rough schedule:

    *Weeks start on Monday & end on Sunday

Week 1 (2/10-2/16):

• Continue the research progress
• Begin outlining and writing the film opening

Week 2 (2/17 - 2/23):

• Continue outlining film opening 
• Scenes, storyboard, filming locations, etc. 
• Coordinate filming times with team for next week

Week 3 (2/24 - 1/02):

•  Begin filming
• PS: always overshoot

Week 4 (3/03 - 3/09):

• Editing
• This will most likely take the most amount of fine-tuning

Week 5 (3/10 - 3/16):

• More editing (exciting)
• Start finalizing the product

Week 6 (3/17 - 3/23):

• Finalizing film opening
• Ensure everything is perfect and ready to upload
• CCR
• Writing & finalization (ideally)

Week 7 (3/24 - 3/25):

• Finalizing & reviewing everything
• Only 2 days in this week, so everything should already be done
• Last minute adjustments

Naturally, the schedule is subject to change as time goes on and the product begins to develop, but this should be an approximation of how and when everything is going to be done.

3 Sport Drama Credit Sequences

 Continuing my research on sports dramas, today we'll be analyzing opening credit sequences, looking for any design choices I may incorporate into my own film opening. 

Grand Prix (1966): https://www.youtube.com/watch?v=GkMOAoiGuGc 

    This stands as the oldest film I have reviewed, and yet its opening credit sequence is by no means dated. While the film opens with white text on a black screen, the darkness is revealed to be the exhaust of a Formula One racecar, displaying the film's title. As the credits continue to appear, the cars and their racers seem to get into position; this is supported by the crowd watching with anticipation as the vehicles slowly roll in. Mechanics proceed to tighten bolts, neatly handling organized machinery. All the while, the credits are taking a background role to the film, despite occupying the center of the screen at times. Wherever the focus of the shot is, the text is neatly placed to seamlessly flow into the film. 

This shot of the engine especially resonates with me, as upon one's first viewing, they might overlook the credits entirely. Even with the text center stage, the intricacies of the engine's cylinders are at full display. 

Another interesting design choice is the splitting of the screen, showing the same shot 64 times at most. In one instance, it is done showcasing the exhaust, indicating that all the racers are following a similar protocol. In another, it is used as the mechanics tighten a nut or a screw, representing how the action has been rehearsed and executed countless times. Grand Prix's opening is a great example of how the same techniques can be used for different reasons. Additionally, the credit sequence showcases how text can be seamlessly incorporated into film, even adding to the shots.

Raging Bull (1980): https://www.youtube.com/watch?v=3N4uXfnH2aA  

    Martin Scorsese's Raging Bull, revered as a classic in cinema, uses a simple and direct credit sequence. Initially, a black screen is used to show both the production company, the director, and the lead actor. When introducing the lead actor, however, the text says "Robert De Niro in," setting up a transition into the film itself. A slow-motion long shot of a hooded fighter practicing in a boxing ring is displayed, with a large, red text: Raging Bull. The text is designed to stand out - its red coloring contrasts not only against the black and white film, but also the other credits, which are white in color. The shot of the boxer remains for the rest of the sequence, with the credits positioned in between the ropes. This credit sequence shows that purpose can be established without any sort of cuts or movement techniques, as only one shot is utilized throughout the entire scene. The shot is by no means dull; the long shot reveals the movie's protagonist while effectively displaying the credits.

Rocky (1976):https://www.youtube.com/watch?v=Bhs9jl3W9P8

    Rocky's credit sequence follows its opening, in which Rocky Balboa (the film's protagonist) can be seen taking a small-scale boxing match. The credits appear as he walks home, occupying areas of less importance to the shot. While the text seems to fit 'less neatly' when compared to the previous titles discussed, there is still some careful thought and consideration into the credits' layout. 

I'm a big fan of this shot, in which a group of people are singing by a barrel fire. The text credits currently obscure Rocky, who is walking down the street towards the group. Once his presence is more noticeable, the credit fades, and the next credits are oriented horizontally to allow for Rocky to occupy the screen. The shots displayed do little to progress the story itself, but help develop the setting and protagonist. While there is frequent movement, the longer shots allow the audience to take in both the visuals and the credits themselves. The credit sequence showcases how the scene's pacing is used to balance the impact of both the text and the shots.

3 Sports Drama Film Openings

To get a better 'feel' for a sports drama movie opening, I have chosen to take inspiration from the experts. What follows is the analysis and discussion of three different film openings.

Warrior (2011): https://youtu.be/c5B3IBjSViM

     The opening aims to introduce two points: character and setting. The environment is displayed with softer colors, a subtle mise-en-scene element
that shows calmness and a less hectic environment. This is only further emphasized with the movie's score, containing gentle vocals accompanied by an acoustic guitar. The pacing of the shots are slow, with few cuts and little movement. The shot's don't necessarily overstay their welcome, but they certainly linger, allowing the subtleties of each character to be displayed.

The Wrestler (2008): https://youtu.be/W8vOpyGW1sA

    The film opens with a long panning of various posters and newspaper excerpts, introducing the Randy "The Ram" Robinson as a well decorated wrestler, with several title matches under his belt. The opening is accompanied by the sounds of crowds and announcers, alongside a classic rock score. The different soundbites of each commentator alternate in panning, showing that Robinson frequents the spotlight (or the ring). Without showing the character themselves, Robinson's reputation is already established.

Pumping Iron (1977): https://youtu.be/lbgh-B2jV5o

    While The Wrestler reveals Robinson's legacy through posters and flyers, Pumping Iron shows history being written. The film opens with a bodybuilding competition, starring competitors at the highest level: Lou Ferrigno,  Mike Mentzer, etc. A combination of long and medium shots are used to show the bodybuilders carrying out their posing routine, with lighting designed to emphasize their muscularity. Instead of classic rock, the film's score contains feel-good pop of the 70s; the people on stage are adored by the crowd as they whistle and cheer for them. Pumping Iron, was made with the intention of dispelling the stigmas of bodybuilding at the time, propelling the sport into pop culture. 

Possible Genres

 In figuring out my film project, I am choosing to approach the process via genre. I've narrowed my selection down to two options: drama and thriller.

Drama was a no-brainer for me, as (assuming the film is grounded in realism) the genre requires less flashy effects when compared to sci-fi or action movies. With less dependency on editing, it could better fit my limited time and resources. Some famous examples are Parasite, Schindler's List, and The Irishman. 

I'm also just a huge fan of dramatic films and their use of mise-en-scene in developing a story. I find the idea of curating the scene's color and composition as a form of storytelling or symbolism to be really appealing. Obviously, this characteristic isn't exclusive to drama, but I am interested in exploring the concept in a more dramatic context. 

Making a thriller film opening would also be an interesting approach, as I could experiment on different ways to build suspense and tension. When comparing the genre to drama, there would be a much greater focus on lighting rather than color, using darker shots to limit what the audience can see. Playing around with lights and a suspenseful score sounds really tricky, but the payoff would be great. Some of the most famous thriller movies include Memento, The Sixth Sense, and The Silence of the Lambs

Transition to Portfolio Project

We're in the big leagues now. 

Thus marks the transition from our previous projects and studies onto the portfolio. The portfolio project consists of three portions: a 2-minute film opening, a reflection of said opening, and the blog post I'm writing on. Here's the game plan:

1. Start brainstorming ideas on the opening, figuring out what I'm working on, and how I'm going to work on it. Thinking of relating my work to the arts in some way shape or form...
   
   
2. At the same time, document the process throughout several blog posts a week (starting with this one)
   
   
3. Once I film my opening, reflect on the whole experience in my creative critical reflection (CCR)   
   
   
4. Celebrate (optional [not so optional])

The current stage of the process is completely speculative. I intend on looking at film openings for inspiration, and determining what I can do with the limited resources I have at my disposal. Some of current favorites are: Whiplash, Parasite, and Eternal Sunshine of the Spotless Mind.  

I'll keep you posted, expect another blog entry this week.