Technology Standard

Coping with technology during production:
Using Cameras, filming:

I did not have access to a video camera through family and as my film was not set at school, I did not use a school camera. I then found out that we could use the school cameras outside of school, but I had already done my filming. However, I am happy with the quality of the footage, and as this was the first time that I had even attempted to film something, feel that I have achieved a lot. I used the technology that I had available to me, my digital camera and my sister's digital camera that have video capabilities.

The first thing I had to work out was how to take video clips on the cameras and experiment with the duration of the shots. During the filming I experimented with the camera, with and without zoom, composition within the frames and how to position the camera to get the best shots. The test shots that I took helped with this as I became more comfortable with using a camera.

I filmed several times; at first for the test shots and then for several hours to get the majority of the filming completed. Some of the plan changed because of actors being unable to follow through with the filming. However, I already had sufficient footage.I had more than enough, what I needed to do was sort through and get the best shots for the film. Hence the beginning of the editing.

Composition of shots:

I wanted to have a variety of shots in my film opening as in the film openings that we have studied it is evident that having a variety of angles and shot types is important in the composition of the film. I used close ups and extreme close ups for the emotional shots and to portray the idea of being out of one's comfort zone. I used medium long shots to establish the setting and the trees, nature surrounding the girl in the film portrayed through these shots helps to set the mood and tone of the film. The use of the long shot in the chase scene was effective as it was also hand held to show that the girl was being chased.

Another aspect of the technology that was new to me was the use of editing programmes on the computer. I bought a usb in order to store and transport my video files. My computer at home has two basic editing programmes- I chose to use Homevideo-maker. It can cut clips in two, crop, order on the timeline, add audio, music and transitions, which were the things that I wanted to use. After I had completed my filming I downloaded/imported my files from the cameras onto the computer. I then watched them for the first time on quicktime player so I could see the quality of the footage and whether the filming had been successful. I began to fill out a footage log so that I could know which clips to use and refer back to the log if necessary.

I cropped and cut the clips in order to get them to be the right size, and sped up some of the writing shots on the editing programme. I wanted to have clips of varying size in order to portray different moods- for example, the beginning, writing the story is sped up, but still takes a decent amount of time and the shots are smooth. In contrast, in the shots of the chase scene and some of the necklace shots, they are smaller sized clips, therefore changing quickly to create a sense of tension and urgency. This was also enhanced through the use of transitions such as quick cuts and wipes. 

 When I had decided on my songs, I had to import the files in the correct format, cut them and order them to match the visual and to tie throughout the film. At one or two points the music isn't totally smooth but I am really pleased to have gotten it on the film, as I was having trouble with it at first. I also heightened some of the audio- the noise of ducks, birds and the chase scene, in order to hear the person chasing and the girl's scream. I am pleased with how the higher volume fitted with the music track as well.

I decided to add titles- the title of the film and my name at the beginning, and so played around with the fonts, colour and size on the editing programme. I also changed some of the clips saturation, brightness level, contrast and hue in order to show the fantasy aspect of the park and to increase the shadow in parts with more tension.

When I was editing I was pleased with the way a number of the shots came together, but at times was frustrated because I was trying to teach myself how to use the programme, and when the technology wasn't easy to understand  I had to stop and then come back to it. There were problems with trying to import audio files in the correct format, and exporting the video, but I kept trying and eventually managed to save the file into one of my folders and then burn it onto the disk from Windows Media Player. Needless to say when I got it on the disk I was really pleased!

4. Evaluation:

I felt that the positive aspects of the production were when I decided on my ideas and through talking to people and thinking about the restrictions in terms of time, money, capabilities and talent, I was able to come up with a refined concept and design. When we were filming we had a lot of fun- it was the first time I had ever used video on my camera and so this was both challenging and exciting. I enjoyed directing and seeing the vision I had in my head come to life through film.

My concept changed over the first few weeks of pre production tasks, along with having some of the plans change due to actors not being able to continue with the process. There were various setbacks or obstacles to overcome, such as the changing of actors, the weather- especially when it snowed, but this ended up being good as just after this the weather the sky was dark and this was what I wanted. Most of the good filming was done in the lower light, earlier on in the day and helped with the darker mood. In my contingency plan, the idea was that if the weather was not quite what I wanted for shooting I would reschedule the filming, or do paperwork in the time I couldn't film. It was difficult having to rely on someone else, as sometimes the actor was busy and it felt as if she couldn't make time to follow through with the project, but I got the footage I needed and I was pleased with how she took my direction and had comments about the concept and how she wanted to play the role. In the end I felt that this was good, as it meant I had to work with what I had got- which was plenty of good coverage of the shots, and made me choose to change the concept slightly. I think this helped to make it more understandable and a more manageable task.

Things that could have been done better would be starting with a more simple idea, as each part of the process took a considerable amount of time, and it is important to make sure the filming is done in plenty of time and the editing also. Some of this I couldn't help- with the weather conditions and the talent/ acting difficulties- changing actors, not having her there when I needed her- these things were out of my control. Some of this frustrated me as I needed to rely on someone else. A strategy to improve this would be perhaps to use a different actor next time, and to make sure that I get my planning done in the first few weeks so that I could focus more on filming and allow more time for any issues that may arise. I felt that I did handle these obstacles however, and have produced a product that I am proud of; in terms of actually creating an opening to watch and following through with my concept.

I have had fun in doing this production- it has certainly taught me a lot, and I have learnt new things by myself; through the use of editing programmes, importing audio and visual files, learning how to put music in and to get the file from a project into a film file and onto a disk, for example. I feel that I have worked well within the boundaries of money, time, capabilities and technology to make this opening.

3. Post Production

 My mother wanted to watch the film opening so when I had done a rough edit, I showed her. She said that she enjoyed it, that it seemed like how I had told her it was going to be and she didn't think it was too shaky. So, she thought that the idea and story worked well but that the ending needed work. I showed her again after I had added the transitions, change of hue,brightness,speed,contrast, changed the audio and completed the music; and she said that the ending was better when the girl just walked off instead of running, and that the order of the clips to match the story was better than before. I did feel like I needed to rethink some of the order and so was pleased to hear her say that, as I wanted to make it as understandable as possible.

Production: Footage Log

Footage log:

1719- test shot, jess walk, lighting

1720- test, jess walk to tree, touch, composition of shot okay, not perfect

1721- angle not right, lighting good, right idea, touch tree, wonder

1722- good composition,exposure, lighting, acting,

1726- doesn't move, right framing, good shadow

1730-too shaky and too far away, but good first attempt at the following, hand held cam effect

1723-1724- 1^st take tree- actor doesn't scream/run

1733-trees,branches shaky

1734-panorama,pan, good, actor not ready

1749- 15.11- beginning good, over the shoulder shot, light bad- shining off water, angle wrong,

1750- 2.24-rocks,shake,exposure streaky

1751-9.14- too bright, start shot good, rocks,water

1752-shadow of me in it, rocks to bench, graffiti,

1753-exposure too bright, see slide in background, shadow of camera,not natural-actor said

1754-shake at beg, exposure better,

1755- actor better, light better, still bad streak

1756- exposure good at beginning, action better, actor natural, scrub at “shit” graffiti.

1757-shake at end, too dramatic, trying diff things out

1759- end better, up off bench,

1760-4.06-steps backward,

1761-3.06- too static, doesn't move,

1763-2.15- less slide, closer,

1764-4.11-actor feet,running,handheld cam up to face. Split into 3, took best 2-beg,end.

1765-running, close to camera, middle good, exposure, shadow on ground good

1766- too much background, red slide,

1768-8.06- actor scarf in tree- smiles, too long

1769-close up-frightened, framed by trees,better.

1770-trees,pan down to actor, framed.

1771-6.04-close up actor,tree, shadow good, light at back, depth of field good

1772-shot pan down from trees to actor, shaky,shadow heavy,good,

1774- Best, angle right,scarf and actor,

1775- shoe and scarf,

3678-rich red of ground good,shadow.

good- necklace,near pond,throws into water- light on hand good contrast w shadow,

3683-close up hands,rose, good movement,

3677-13.06- shadow, exposure,contrast good.walk to rose.

3679-10.09-walk,find rose.

3680- 7.21-my shoe in shot, picks up rose,

3685-15.01-walk, smell rose, smile- good exposure,shadow

8. Test Shots:

Joanna and I did test shots at parts of the location to test for lighting and shadow, and to try out using the camera, getting used to the movements and controlling the shakiness of having it hand- held. This was also good as it helped me to realise what I wanted in the shots and to practice directing and finding out what worked and what didn't.

7. Locations, Permission

1. Park location:

Street Address:  Park off Greers Road, near Jelly Park

Location description at address: Park setting with willow trees, spindly and intricate branches, bushes, thick trees, pathways, a pond, two bridges and steps down to the water, benches.

Date/ Time required: 10am- 12, Saturday the 20th of August

Owner: Council- is a public place, allowed to take photographs, film here.

2. My room- Have permission to film in the house.

 

Safety Considerations: Risks, strategies to minimise risk:

Being careful at the park- especially on the steps and near the water, through the trees and on the bridges just to make sure that we don't slip or end up injuring ourselves.

6. Art Department

Props/set:

• small desk
• chair
• necklace
• dried rose- rose petals
• gold floral notebook
• pen

Costume:

• floral top- My mother's own clothing
• scarf- I will supply
• dark and feminine coloured clothing- top,jeans, cardi, boots for Jess- She will supply all of these.

5. Production Schedule

See attached example- handed in on paper.

4. Crew and Talent

Woman- My mother, Andrea
Girl for test shots- Joanna
Girl- Jess
Camera: Me
Transport and props: Me
Costuming: Mum- own clothing, Jess- own clothing- advised colour, type. 
Editing: Me

3. Design: Treatment

The writer of the story, a woman in her 40's, sits alone at her desk. She begins to write on the page in her gold notebook. She continues to write in the book as the camera fades to a shot of her perspective of the book- the viewer can see what she has written.

• These shots are panning or still, use fades to have a smooth beginning, calm feeling.

Fades to shot of young teenage girl in her fantasy world. The setting has changed to a park; the girl sits up, also alone and looks around her surroundings in a panning shot. She listens to the birds and the wind that surround her- these noises are to be heightened in editing.

•  The noise in these scenes is contrasting to the beginning, which has a softer music playing.

She begins to explore the park, finding and looking in the gold notebook. She becomes frustrated as she sees only blank pages. The book is discarded. The girl then walks to a tree, touching the bark and is interrupted from her innocent exploration of the park by what she thinks is someone chasing her. She screams, beginning to run from the source of her terror.

• Shot from the POV of the violator- hand-held camera following the girl down the path to the bridge. These jerky movements and use of heightened audio and cuts help to increase the tension and for the audience to sense the girl's fear. 

She is left alone. She walks away, spotting a necklace hanging from a willow branch. She picks it up and tries to remember what significance it holds for her.The necklace is thrown into the water in frustration. The young girl begins to walk away briskly, but gets distracted by another object- a dried rose. She picks it up, once again wondering where it has come from and what it means for her. Becoming increasing frightened she runs to hide by a tree, ultimately walking away from the park and the cause of her distress.

Style:

• Close Ups and Extreme Close Ups in order to see emotion crucial to the story, to heighten tension and anticipation. 
• High Angles down at the girl's feet and the water, the necklace to show importance and dominance,focus on the object. 
• Use of the hand-held camera in the chase scene to make it realistic, increase tension once again and to show fear from the girl, the jagged contrast to the first shots to show the danger in the fantasy world. 
• Audio will be heightened on some clips- sound of birds, ducks and wind, rustling of leaves to show the natural side of the park. Also, to hear the scream of the girl and the person chasing her- muffled noise of chase, action. 
• Long shots to establish the setting. 
• Change the hue, saturation, contrast and brightness on different clips to have a different mood- ie change in hue and saturation to show the dreamy fantasy setting, increase in contrast and decrease of brightness to increase shadow and make the scenes ominous and threatening. 
• Change the speed of some of the clips- the writing ones to show time moving, the story being written.
• Clothing for the girl- Dark- light grey top, black and pink lace top and jeans to show that she is normal, wearing dark clothing yet it is still girly, hint at innocence and naivety.
• Not showing the woman's face to focus on the story being written and the ambiguity gives a sense of mystery.

Scene Breakdown:

1. House, My room. Inside scene- woman writing story in notebook
2. Jelly Park-outside scene. Inside the story- Girl sits, explores the park, finds book- can't remember the content.
3. Park- Is chased through the trees- consequently finds necklace, rose. 
4. Park- She becomes distressed by her surroundings, begins to walk from the park.

Storyboard: Handed in on paper.

2. Research:

Research:

I have decided that I want to do something mysterious and dark, fantasy genre.The idea is to have a woman writing a story, which is a sort of nightmare for the girl involved as she thinks that someone is following her, and she can't recall her memories- which she tries to read in the book. The book is the link from the "present" writing, into the story. I have looked at several films and pieces of poetry for inspiration.I have looked at some of Edgar Allan Poe's works, which I am particularly fond of, such as ligeia, which has helped me to formulate ideas for my concept. I decided that it would be hard to do a version of this as it would require a company of actors and complicated set. I have a limited budget, actors and camera equipment. It was good however for me to read some ideas that were in the genre that I enjoy. I wanted to look at some films that had used a book in their scenes; and which had a darker or fantasy element. I have researched information on Pan's Labyrinth and I looked up the screenplay for Labyrinth which I particularly liked.These various forms of media have helped me in the first stages, as I have struggled to decide on a concept that would be manageable and able to be understood.

• Found an appropriate park with spindly trees, willows and steps which I want in the film, also to film the book part at my house. 
• Asked Jess to act in it, told her the concept. 
• Found a necklace, book and dried rose of mine to use.
• Talked about times that we could film, the type of clothing she was to wear.

Pre-Production- Concept

1. The name of my film opening is going to be faded memory as it is about a girl who can't piece together her past or the memories of her important experiences. It is going to be an opening that begins with a woman writing the story ( almost as if it were she who were the girl..), then it will be in the story, with the girl. The genre is going to be a fantasy.

2. I want to explore the idea that the film is a comment on how fragments of the past influence the present person and can have a big influence in one's life. This would be further explored in the rest of the film.

3. I wish to evoke emotions of concern for the girl, wonder for the park/ fantasy world, and a wish to know more about the background behind her necklace, rose and the book which holds the memories.

4. I wish to have the impact of getting people to think about their past, or their memories that are both positive and negative and to reflect on this when seeing that the girl is frustrated that she cannot read the book, or remember what the pages contain.

5. I am inspired by Edgar Allan Poe's works and so want to mix Dark Romanticism into the piece. The beginning will show the change from the woman writing the story to the girl being in the fantasy world.The location/setting will change at this stage to show the transition.As the film would progress, the dark elements would emerge more strongly.

 There are two main characters: the woman and the girl. The woman is in the present, writing the story. The girl is inside the story. The link between the two are props such as the book, necklace and rose, which are all vital to the story- the memories that are associated with the items and the confusion when the girl can't remember who they were from or for what purpose.Some things in the fantasy world are not what she expects. As the woman writes more of the book, and is consumed by the task, bizarre things would happen in the fantasy world in the rest of the film. The opening is to introduce the situation, location and character.

The girl is inquisitive, curious, at times frightened and confused and unable to piece together the memories from her past. The woman is knowledgeable, is writing the memories in the story and is recalling her life- she remembers her past as she writes the story and it is as if she was the girl, but can now see what happened and why and wants to tell her story- which would also be explored in the rest of the film.

The opening starts with a medium shot of a open book, with a person's hand writing a line of the story. The viewer can only see the book, the hand and the pen. Fades into the park- the story.To show this transition from the present, the colour saturation will be different. The idea of the story is a young woman in a strange park, she finds the notebook that the story is being written in; but the pages are empty and she is frustrated by the fact that there are no memories there.She begins to think that there is someone following her but as the story progresses we realize that she is hallucinating and there is no one there.

The rest of the film would elaborate on the memories in the book, to do with the necklace and the rose.These memories inside the story would be colourful and bright to show that these are in the past. It would then transition back to the woman that was writing the story.The objects would thrust it back into the present; the pages flip over- full of the story. It cuts to a extreme close up over the page (the perspective of the woman) A quote is written at the end, then the book is shut.We see the silhouette of the woman.

Exam Reflection

I feel that the Media exam went well; I was most prepared for the Genre essay.The Representations essay I was less sure about. This could have been because we hadn't finished the topic, but also because I focused most of my study on the Horror essay. For the Genre essay I had prepared points, examples, evidence and quotes for the paper. I felt that I chose a strong convention and was pleased with the content of the essay. I spent more time on the Genre essay. I wrote about the voyager,victim and violator which I had been advised to do. This fitted in well with the rest of the content on the convention of Morality. I feel that my preparation for the exam also went well and this helped. I will review my mock exam and study accordingly for the externals. Hopefully when we have learnt the rest of the Representations topic and know what the content of the essay needs to be I will be more sure about this standard.

Genre: Horror- conventions practise

1. Describe: Convention: Morality

 In both Psycho and Halloween the females are extremely sexualised. They are naked when they are murdered, and oftentimes they are murdered after they have recently had sex. This is evident in Psycho, when Marion is slaughtered in the shower; naked and vulnerable, a weak female.The shower has been interpreted in various ways; as a cleansing of her sins of stealing $40,000, or of sexual enjoyment because of her ecstatic facial expression. In these examples, the audience is provided with contrasting ideals; of Marion repenting over her stealing or once again reinforcing the sexual element of the film. Both of these things fall into the morality category.  At the beginning of the film we are introduced to Marion just moments after she and Sam have had sex in a cheap motel that she feels uncomfortable in. She wishes to have a "respectable" family dinner, and not to be in the "hotel of this sort, interested in you only when your time is up.." We see Marion wear her underwear often, or figure-fitting clothing when she is fully dressed. This is another way in which she is sexualised and made to appear promiscuous or inappropriate for the time.

Marion and Sam, note: she is in her underwear.

Similarly, in Halloween, the victims are killed when they have had sex and are naked. Judith Myers is stabbed to death when she is sitting naked at her mirror, brushing her hair, having recently had sex with her boyfriend. Annie and Lynda are also targeted. Annie, wearing only a top and underwear as she is on the way to see her boyfriend, Paul, and subsequently to have sex with him, has her throat slit in the car. Lynda is strangled with the telephone cord after she has had sex with her boyfriend Bob Simms. Bob is also killed, impaled by a knife onto the wall. Perhaps only as he is in the way of Michael getting Lynda. Lynda exposes her breasts to who she thinks is Bob, actually Michael, and this reinforces the idea of sexuality and nudity in the film. She is killed not long after this. Laurie Strode is the real target, but she doesn't get killed in the film. She does not appear naked, and has not had sex, she is focussed and the opposite of her friends. She does, however, smoke marijuana with Annie.

The shape watching Annie, in her underwear.

2. Explain:

Psycho, directed by Alfred Hitchcock, was made in 1960 at a time when social morality was changing dramatically. In the 1950's teenagers became more rebellious, breaking away from the conservative values of the early 1900's. Along with this, attitudes to sex before or outside of marriage began to change. Sexuality was viewed as a threat to society and this film was one of the first horror films to consistently push the boundaries of what was acceptable in the 1960's.

The heavy use of nudity and violence in Psycho was shocking to the spectators of the 1960's and the reason Hitchcock chose to portray such visual elements was that his demographic was changing. Younger people were watching Horror films and he wished to appeal to the younger audience that was becoming more predominant. He said " that nowadays you have to show them the way they themselves behave most of the time." The two prominent topics in Psycho that revolve around morality are sex, the consequences of this, and stealing, which in this case, culminate in an unhappy demise for the central character, Marion.

Similarly, in Halloween, which was made in 1978; ideals based on morality were made present. Tony Williams said that the film " slaughtered the children of the 1960's" because of their engagement in illicit activities of sexual contact, drugs, drinking and Halloween also displayed copious amounts of nudity. In the end of the films, the people who engaged in such acts met violent and gory deaths.The directors in choosing to do this were reflecting on society and exploring all of the things that seemed frightening to society as teenagers became more adventurous in regard to sex and parted from the conservative values of the time. However, the director, John Carpenter, stated that Halloween was not a movie based on morals, and simply a horror that reflected the repressed, sexually uptight girl. The use of phallic symbols in this film is reminiscent of Psycho, which also drew on the use of such symbols in a most prominent fashion. The idea that if you had sex, you would be murdered, but if you didn't you may become a murderer, or want to stab out the built up sexual tension is evident in both of these films and once again reflects the consequences of sexual actions.

 3. Analyse:

The "shape" and Lynda just before he strangles her

In both of the films, the motivation for killing can be seen as a provocation from the women; they indulge in sex, they situate themselves to be naked and vulnerable when the killer can strike, they do drugs, drink and are unaware of the danger that they are faced with. The idea of morality and immorality is very much explored in both of these films, what was acceptable at the time? What was right and wrong? The idea that the behaviour of the teenagers was wrong is very strongly portrayed: in the 1960's as attitudes to drugs,sex and teenage life were changing. If the films were to appeal to an audience who smoked, drank, had sex and could relate to the characters the films would be successful. In this way, the teenagers were faced with what they were doing. The end result being death and violence may have startled them and changed the way they conducted themselves, or to have made them more aware of the danger in society.Carpenter stated that Halloween wasn't a morality play, but was simply a horror that showed Laurie to have killed Michael: " She's the one that killed him. She uses all those phallic symbols on the guy". In contrast, Alfred Hitchcock wanted to challenge the censors, to have sex, violence and nudity in his film in order to comment on the present issues and to push the boundaries of what was acceptable in the cinema at the time; some of these being the unrest that wasn't always apparent, like the problems of war, segregation and the change in social morality is what fueled Hitchcock's intention of shocking his audience.

The audience was very much shocked by both of these films. They were seen as explicit and direct. They pushed the conventional boundaries of film and society.  The audiences were probably not expecting such films, they were used to the "safer" horrors, and Hitchcock's Psycho was different from his other films; he used some of the conventions of previous horrors, but wanted to be innovative with his film. His killer is still recognizably human, the victim is a beautiful woman, the attack is registered by the victim's point of view and these things made Psycho the first modern Horror and" mother of the slasher". The lead female dies early on in the film, the idea of a cross-dressing killer with a tortured mind is explored and nothing ever becomes of the stolen money or the police man from the beginning of the film. Audiences did not expect these things.

Norman and Marion

 Psycho made $11,200,000 and was the highest grossing film of Hitchcock's career. The public loved the film and in many countries; Japan, China, Asia, France, Britain, South America, the United States, and Canada all broke box-office records. Halloween grossed $47.3 million in the United States and $60 million worldwide. This is equivalent to over $203 million as of 2010 and the film was said to be "culturally, historically, or aesthetically significant" by the Library Of Congress in the USA. Both of these films did well commercially, and they both inspired many imitations that used similar conventions and styles in the Horror Genre. 

These quotes show the feeling of some critics toward the film.Carol J Clover said that Halloween turned women into heroines,and introduced the first " final girl" who triumphs in the end. Roger Ebert said that " It's easy to create violence on the screen, but it's hard to do it well. Carpenter is uncannily skilled.." 

Shot size, angle and camera movement

At the very start of the sequence, from the black screen ( with the exception of the warner bros font sign..) the fog and swirling sky come up from the bottom right hand corner, and the camera sweeps down and across the screen or the shot.This gives us the illusion that the camera is looking at the scene as it follows down to the right and sweeps across the setting until it comes to the outside of Mrs Lovett's pie shop and rooms. The camera pans over towards Mrs Lovett's meat pie shop, and the attic window. The camera zooms up and angles over it, in a high angle. ( crane or bird's eye view ). This makes the object below ( poor Albert's chair ) seem threatening and dangerous as it sits alone in the abandoned barber shop. From outside the barber shop to inside, there is a cut straight to the silhouettes on the wall. This shows a change in setting, the camera moving from outside to inside in a swift movement. This is also an establishing take, as we get a sense of the setting of the film and the outside of the London town. 

In the shot above we can see that the shot uses shallow focus: the chimney at the foreground in shadow, yet the side with the detailed grooves, the background chimneys are detectable but not detailed and so gives the impression of many houses in the area. 

The close ups in the opening sequence are mainly in the barber shop; these being of the arms of the chair: of the lion's face, the shot before also encompassing the silhouettes, the wall and then rushes forward to show the chair as well. There is a deep focus: meaning that we can still see the detail behind the chair, although it is meant to be the main focus as it is in the forefront of the shot. These close ups show the intimacy of the relationship and significance between the objects in relation to the plot and that the blood is of great importance. Below: One of the straight shots that make the audience feel that the blood is rushing towards them, and are in the world that Tim Burton has created within the opening sequence of Sweeney Todd.

The camera follows the blood on its journey through the barber shop, bakehouse and the London sewers. This is done with tracking and also as if it were the victim's falling to their demise. The camera zooms out on occasion, as the oven door is shut, the blood creeps over the arms of the chair and this is done to show more detail and is as though it is sweeping through the scene. As the blood runs down to the bakehouse there is a high shot when the floorboards give way, and this is met with a cut to a mid-shot, and met with a straight on shot of the meat strands coming out of the mincer. When the door of the oven shuts it is a medium shot and the camera pans across to the left, taking in the rest of the setting: the sewer tunnel and the emergence of the blood in the gutter. The camera then follows this by tracking backward whilst the blood trickles forward. It is almost as though the blood is rushing toward or chasing the camera backward. There do not seem to be any really extreme close ups in the opening sequence, which keeps the viewer at a close distance from the action, and as there are no characters or dialogue in the opening the viewer is observing and noting the action but does not emotionally connect as perhaps you might if there were characters in the opening.

Note: Composition of shot, slight high angle and medium shot, showing some detail and most of the scene at this point.

There are also not a lot of straight shots in the opening. These are used so that the viewer can connect with the action or emotion that the character is portraying. There are a lot of camera angles used, such as high angle, tilt and also zooming in and out. This creates variety for the viewer and also creates an unsettling feel that matches the images in the sequence and also gives it a distorted and quirky mood. I think that Tim Burton and the designers of the opening have used this so the audience can feel that they are in the world created, yet are still not completely sure of what will happen, just snippets of the plot line and a curiosity is roused from the opening not having dialogue, song or the characters present. The use of composition within the shot also plays a part, for example, in the shot above the sewer grate is in the top right hand corner, the blood and gutter coming out of this to the bottom left corner in a diagonal pattern and the top third of the shot is in darkness. This use of lines and shapes makes the composition visually interesting, and the actual camera angle and shot does not have to be tilted as the visual elements create the atmosphere needed. A slight high angle on the camera helps to establish a sense of threat or suspense however.

Shay Hamias- designer and director of "th1ng", view on his role in the title sequence:

I was then referencing for the film shoot, stills, Photoshop painting etc. and basically was making sure that everyone in the team kept the same style across all the mediums. So all in all, I was directing the animation, timing and movement, and then at the final stage I was putting all the elements together in composition with my team.”

In the shot above we can see the use of a deep focus shot which shows both the object in the foreground and the background in detail. The effect is threatening and the heavy machinery is predominant in the shot. This effectively portrays a sense of control and danger because of the impersonality of the objects and the fact that they take up the majority of the shot. The notorious theme of the blood and the visual journey of dread fits well with the imagery of machinery, the flames and the links with the sewer and bakehouse through the shot above, and the shots previously mentioned. The differing shot sizes, varying angles and the movement of the camera all contributed to the completion and visual intricacy of the opening sequence.

Editing, transitions

The editing ( selection and assembly of shots) and transitions ( how the scenes and shots are combined, with which technique) in Sweeney Todd are cleverly done. In comparison to some older Horror films, the advances in editing and transitions are on a huge scale and are seamless and natural in Sweeney Todd. Some of the transitions include fade to black, wipe, (contrast) cuts and fade ins, in the opening sequence. Throughout the film there are varying types of transitions and editing practices that provide contrast, to do with change of plot or mood, emphasis on certain parts of the plot, time or different parts of the story, for example, Mrs Lovett's fantasies or Mr Todd's flashbacks to his earlier life.

The first camera shot of the film is a sweeping shot, that follows down from the sky to pass over the Victorian London buildings and rooftops, it is as if the camera is taking a sort of panorama of the setting. This shot helps to establish the setting and the type of buildings connotate the time and place that the film are set in. The shot gives the feeling of mystery and is eerie and dream-like. This has the use of decoupage; which allows the shot to be seamless and continue the viewer's journey or story into the barber shop without any interruptions. The music fits with this shot, as it is continuous and does not escalate in pace or pitch at this point. The effect of this is a smooth entrance to the film, allowing the viewer to focus on the story and images rather than the editing or creation of the film, as it is done in a coherent manner.

Once we see the chair cogs, there are several quick cuts to the other cogs as we see the blood traveling down the cogs of the chair, and the bakehouse machine. There is another cut as we see the blood filling up the cog mechanism and as it drips from the machine and runs forward on the floorboards, the floorboard seems to give way, as it would with Mr Todd's mechanism; and seems to fall to the bakehouse as we see the title of the film appear. These quick cuts are effective as the movement of the blood in the takes that follow are slow and contrasts to the speed of the cuts. Also, it gives the heightened atmosphere of danger, suspense and the continuation, or movement of the blood on its journey through the London setting. Below, the blood drop that then runs out of the next shot, the brown floorboards give way soon after the second shot, to fall to the title.

An example of the use of fade is the transition from the title to the meat worms coming out of the mincer. Just before this happens the title fades to black, and the image then comes out of the darkness is the meat worms. This is an example of a fade out, the title fading out, and then the meat strands fading in. There is more shadow added, and the colour gets darker as the meat strands transitions into blood drops, these drops then falls onto the floor/bench and create the red swirl. This is a smooth, cleverly designed transition as it also links the idea of the blood of the victims from the previous takes, and introduces the viewer to the fact that the meat is actually human flesh (shown by the blood drops). This creates a tense feel, and once again heightens the atmosphere.

The meat strands transitioning into the blood drops: note: link of blood from victims and the pie meat.

Straight after this shot, flames push up from bottom of the screen; an example of a wipe, as the flames replace the red swirl. This is an effective link as it shows the time change or the process of the preparation to cook the pies progressing as the oven is heated up with coal or such material. The next shot is similar to this one; with the pies on the shelf cooking. We can also see the flames at the bottom of the shot, coming out of the bottom of the oven, and so this is a link to the previous shot. This is significant as it shows the process evolving. This is a contrasting cut as it has part of the subject matter from the shot or take before in it, and gives significance to the two shots being related. 

The flames wiping up from the bottom of the shot.

The next transitions are the cut from the blood travelling down the sewer hole to one trickle of blood going down the front bit of the concrete wall ( see picture below), as this flows down we can see that the tunnel underneath is in fact where the blood came from, so this is another example of the contrasting juxtaposition of the shots, before and after having the returning object of blood, yet in a different place, shows the movement and progression of the blood. We see the blood and water rush out from the left, out a different small tunnel, showing that the blood has been through the whole of the sewer, and could be seen as seeping into the whole of London; the blood will not be washed away as easily as Mrs Lovett of Mr Todd may have liked.

Blood trickling down the concrete wall: note: under the arch  is the trough and tunnel that the blood came from.

 The continuing shots and images of the sewer, the damp, dark tunnels, rats and vermin, blood and the burning flames of the dungeon- like oven and bakehouse reinforce the idea of filth, dirt, deception and corruption in the film. The viewer is positioned to be curious as to where the blood ends up, to see what happens to Sweeney after his murderous behaviour, and to find out more about the source of the blood and the actions behind the set up created by these cuts, shots and transitions.

After the blood rushes down the trough to the grates at the end of the sewer and spills through to the final part of the sewer before flowing out to sea, the blood transitions into a sort of reflection, the colours mingling, and this is done in a dissolve technique. The visibility of the shot is changed, so the colour seems washed out and more dull. It fades to a softer blue before transitioning to a misty grey. This relates back to the beginning of the opening sequence when the sky is thick with rain and mysterious with the swirling blues. The next transition is very smooth, slowly changing into a shot of the ship. This creates a link between the two objects, of the blood in the sewer and the boat ( which Sweeney Todd and Anthony are sailing into the London harbour on). The blue transitions to a milky grey, which in turn becomes the fog that the ship sails out of. This is also able to be related to the vermin in the sewer, of which Sweeney sings of when he is on the ship with Anthony in the first bit of the next scene:

" There's a hole in the world like a great black pit, and the vermin of the world inhabit it, and its morals aren't worth what a pig could spit and it goes by the name of London."  

 Here Sweeney voices his opinion on the people of London; that the people have no morals ( reference to the corrupt judge imprisoning him on a false charge), the people are compared to the dark, grimy sewer, with its rats and filth that has just been shown; which links the song to the previous visual transitions. This makes the last transition appropriate in my view, as it ties the sewer and imagery to the ship, to Sweeney and was an interesting way to tie together the opening sequence and the start of the first scene of the film. Below: the contrast and comparison between the opening shot of the sky, the last shot of the Director, Tim Burton and the first shot of the first scene of the film, the ship emerging from the mist, transitioning from the second to third pictures.

Lighting, use of shadow and colour...

 One of the first images we are introduced to is a swirling, morose sky. The dark blue in the mix provides a kind of shadow for the lighter aqua blue. The moodiness that this creates makes the audience aware of the tone of the film and the backdrop together with the dark, black, shady-looking chimneys and rooftops give a distinct impression of the gloomy 19th century London setting. The sky almost has a supernatural or surreal feel: which is something that Tim Burton often incorporates; the mix of surrealism and fantasy into his work. The blue sky seems almost bright against the ever-dark buildings in the forefront of this shot, the only other colour being the red blood drops and the barber's pole. Also, a cold white is used for raindrops and for the font. A small amount of white is also in the sky; making it appear almost 3 dimensional in the cloud and providing a lighter contrast to the dark objects in the opening.

This is effective for use of colour in that it links well with the haunting music, and introduces the tone of the film; we are introduced to the blood-red, the significance of the rich colour and the dark colours. The viewer is submerged into this darker feeling film, the desaturated colour and the shades of colour helping to do so. The feel is created by the depth of the colour, the shadow and the black of the objects and the tonal sky collectively creating and showing a sombre, mysterious scene. A thick, repressive atmosphere is created, and pieces of the story are hinted at by the use of the blue and neutral colours. The tonality of the opening, the contrast between shadow and darkness with small amounts of white or gel coloured light even hints at the nature of the film; the goodness contrasting with the corruption.

Note: red and white barber pole, blood drops, juxtaposition and contrast in light and shadow

Tim Burton on the effect of the film being almost black and white, choosing to have some scenes desaturated and darker with the fantasy and flashback scenes in bright colour: 

"Well, we did a lot of testing beforehand. ... We consciously didn't put a lot of color in the sets or the costumes ... just splashes of color when we felt it was necessary. It seemed appropriate to use color through the characters' eyes, in the sense of his flashbacks being more lurid (sort of the opposite of flashbacks which are usually more desaturated, we inverted that because it seemed more appropriate of the telling of the story ) and her fantasy of a wonderful life by the seaside more optimistic and romantic."

 There is a change from the desaturated dark blues and blacks in the opening sequence when the viewer is plunged into the bakehouse and the sewers; browns and stale yellows are introduced. For example, in the shot below, the meat of "unknown origin" is being squeezed out of Mrs Lovett's mincer. It is a rich Burgundy brown colour which shortly after this shot has blood dripping out of the strands. This links the idea of the human flesh being in the meat or pies. The use of brown here distinctly shows a change of setting: from the outside setting to the barber shop, down into the bakehouse. It shows the process well; some of the colours are brighter here, yet they have a sinister connotation. The heavy shadow around the meat strands seems to be enclosing or creeping in on the meat, perhaps showing that the dark nature of the murders is following through all of the sequence, all of the film, affecting all of the characters ( Mrs Lovett in that she is an accomplice, for example.)

The "unknown origin" meat, note: the brown rusty colour, and heavy shadow surrounding the meat.

The progression from the mincer and oven to the sewers shows another change of colour and use of light and shadow. Here the brown is used as a sort of highlighting tool; making the sewer seem partly rusty and dirty. The darker shadows contrasting with this. The viewer focuses on the rich red flowing through the sewer hole. The tinge of blue and white in the shot links to the previous colours used, and the use of the brown, white,blue and black tie together to create a realistic sewer setting. The emotional response to a shot such as the one below is a feeling of perhaps disgust, and realization of the intensity of the situation: the corruption and murder spreads throughout the whole of London, even into the sewers with the filth, grime and vermin. Once again the red is stark and bright against the other colours. There is another change or addition to the colour, when the flames from the oven are shown, bright yellow, orange and white light up the screen. This too is shocking and unexpected as you get into the dreary,desaturated world that Burton creates for you. This heightens the atmosphere and mood of curiosity and repulsion. Sewers are not usually desirable places, as they are seen to be dirty, housing waste, rats and disease; the effect of adding a victim's blood is startling and the red brings the sequence to life, or shows the loss of life.

Note: soft brown and blue tinge, dark shadow and bright blood.

 Tim Burton's view on the use of colour:

"Yeah, red is a funny colour on film because it's the most volatile colour and it changes," he says. "We had probably 20 different shades that we were toying around with because we wanted to create a theatrical crimson."

He wanted the effect to be dramatic, theatrical and shocking. The shade of red used for the blood creates a strong atmosphere and it is in a Burton-esque style, so as not to be of bad taste, but stylistically and artistically used for effect. Certain colours being accentuated ( the blood and the frills on Mrs Lovett's dress) helped to carry this atmosphere throughout the film. He has also said that they decided to use more blood to keep the film less graphic; sometimes if the blood or violence isn't shown there is a tendency for it to be more real and therefore with more gore and disturbing elements.

"we just decided to go for it in the spirit of those old melodramas."

The palette in the film compares to other films of the horror genre in that many old horror films were actually in black and white. ( Burton loves old horror movies and so one could say has been partially influenced by them..) The introduction of blood, gore, the colour red and in some movies, monochromatic colour or darker colours relates in these ways to Burton's film, although the blood is more artificial and the focus is less on the gore or disgust that is created in many other Horror films.

Tim Burton often uses heavy shadows and careful use of light in his films, also a range of tonal shades within his colour palette. Often, there are greys, black, neutrals and significant choice of bright colours for effect. For example, in Sweeney, the artificial blood red, in Edward Scissorhands the blue/purple, white and grey in Edward's castle.

 In the shots below we can see the blood and water gushing from the sewer and dispersing into the water, and out to sea. This is at the end of the opening sequence and is a strong image to finish with, before the film continues or introduces dialogue and characters.

 Towards the end of the opening sequence the rich red mingles with the water in the sewer. This water is quite stylized as well, a brighter blue hue, which ties back to the first sight of the sky and the surreal feel of the film. When the two strong colours mix there is a symbolism and significance; the remains are being mixed into the sea and washed away, perhaps it could even be seen as part of Sweeney's goodness vanishing as each murder pushes him further into his obsession for revenge on account of the death of his wife, and further away from reality and humanity. The use of light, manipulation of shadow and significant and purposeful selection of colour is apparent throughout the opening sequence and throughout the entire film.

The target audience for Sweeney Todd is varied, in my opinion. Well, I love it, and I think my mum even enjoyed it :P ( minus the violence, perhaps! ) For Tim Burton lovers, of course, and those that enjoy musicals and horrors: but Sweeney is not conventionally either of those genres, there are elements of both, so I think anyone who can enjoy a stylistic and meticulously created film with surreal aspects and a unique storyline, capable of handling some blood and violence would enjoy Sweeney Todd.

Lighting, use of shadow and colour

At first, it almost seems that the film has been shot in black and white. The opening sequence, and in fact the entire film is shot in such a way that emphasizes the importance of the use of light and the manipulation of shadow. Another very important aspect of the film is the use of colour. A lot of dark, murky- type colours have been used, such as many varying shades of gray, dirty whites and neutrals; as well as dark blue, brown and green hues. ( In some parts the green/blue tinge is faint, yet still adds to the effect. An example of this is the colours of the floorboards in the barber shop room, that are blue/green tinged at times, making them seem damp,rotting and decaying.) Certainly the predominant colours in Sweeney Todd are dark and cold; as shown in the opening sequence as well as the rest of the film. The cold colours represent and portray a cold atmosphere: For example the dark billowing smoke, black and grey sewers showing a sense of grime and filth. The use of bright pastels and vibrant colours in Mrs Lovett's dreams, and Sweeney Todd's flashbacks to his earlier, happier life show a stark contrast to the bleak, glum reality and setting of the present time in the film.

Here we can see some of the dark shadows, the blue/green tinge, the stone grey and the bright red blood

The vivid, shocking red that is used for the blood in the opening sequence, and the blood of Sweeney's victims is thick, gooey, artificial and almost comical-looking. This adds to the blood a surreal and handmade feel; which Tim Burton uses a lot in his films, it seems almost a signature of his to have quirky, unusual concepts such as this. In turn, the style of the blood draws attention to the specific horror aspect and detail of the film. The blood stands out because it has been made in the way mentioned above. The focus on the film is not to be overly scary or have too much of the horror elements that the classics have; in that their blood is realistic and a focus is on the viewer being horrified or disgusted. Yet Mr Burton's blood concept in Sweeney is used in a stylistically artistic way in order to progress the story and the unexpected brightness of the colour in the opening sequence surprises the viewer. It highlights the importance that the recurring presence that the blood holds in the film. The blood drops that fall with the rain link the sadness and violence together. At the beginning we just see a dreary, gloomy London town; the buildings which connotate the 19th Century London place and time.The colour is used to show symbolic and important objects; the blood drops intermingled with the rain, the barber shop red and white-striped pole, the blood, and later in the film a red on some of Mrs Lovett's outfits are examples of the carefully placed use of the colour red and the stylistic blood.

Shot from Mrs Lovett's fantasy: note positive colours

In the picture above, which is from a later scene in the film; Mrs Lovett's "By the Sea" fantasy, has a light and positive tone, and could show a change in Mr Todd and Mrs Lovett's lives, at least from Mrs Lovett's viewpoint. Colour has been used to show a change in tone, the mood created is whimsical and soft; created by the warm hues: orange, red, navy, light blue, the creamy sand beach and soft clouds. The idea of the couple together,vacationing is supported by this. The striped pattern on their clothing also links them together, in that they are wearing matching stripes.

In comparison to the shot below, which is the actual situation; Sweeney, Mrs Lovett and Toby on a picnic. It is a big change in relation to the rest of the film, a welcome release of tension and change in setting, yet it is seen to be an unusual change from their normal, depressive lives and murderous occupations.  The cloud colour is more misty with dark and grey shadows.The colour is desaturated and almost flat; creating a limp and lifeless feel. Also, all of the character's clothing is in dreary, neutral colours, the style and fabric depicting that of a lower class.The lighting in this shot is interesting, in that it is quite light: the clouds, the clothing and faces, yet the clouds and the tree overhanging the trio make it seem almost ominous, and dreary with the use of shadow.

Actual situation: darker shadows and colours

The use of the lighting in the image below, and the heavy manipulation of shadow enhances the mood and the feel of the situation, the seriousness and darkness of Sweeney's songs and message behind his words are paired with this strong image. The dark shadows on Mrs Lovett's eyes and around her neck in contrast to the whiteness of her skin and partly illuminated face play up the contrast in the light and shadow even more so; Sweeney's face in in the shadow; half is dark, half is light which may have signifigance to the idea of his change in character. The dark is symbolic of his decision to cut the throats of all of his customers in order to refine his skill until he can kill the judge. He justifies this as relieving the men of their struggles, that their deaths will be a relief, and that he will be ridding the town of scum and corruption through these murders.The light side of his face shows that the goodness in his character is still in him, although getting taken over by the dark side of his character as influenced by the corrupt actions of the judge.

Note: Red on Mrs Lovett's dress, heavy use of shadow and contrast between white and black

The focus on the two characters involved, and the dark black around them means that the viewer is to completely focus on their faces and the action of Mr Todd placing the knife under Mrs Lovett's neck. We can clearly see Mrs Lovett's red trim on her dress, which links to what I said previously, about the use of red throughout the film and the signifigance of this. (Sweeney does not actually cut her, but the red links back to the blood and the murderous nature of the story!) The dark shadow also helps to keep the image sharp; linking to the action and playing up the paleness of the character's skin.We are unable to directly see either Mrs Lovett's or Sweeney's eyes, the dark colouring and the heavy shadow preventing this. This is important as it shows an extreme vulnerability on their faces, especially when paired with their white visages and the white in Mr Todd's hair. Sweeney is wearing a washed out grey, which links back to the idea of using dark, cold colours in the opening sequence and throughout the film.

When we first see " poor Albert's" chair in the opening sequence, there is a flash of thunder and the lightning illuminates the chair. This is one example of a clever manipulation of lighting. The chair and the immediate area around it are lit in the white light, and could possibly have a colour filter/gel used as well; as the floorboards and the room have a soft blue/green tinge. This reinforces the idea of the decrepit and isolated room and helps to convey the feel of the room being glum and low-spirited, or having a negative feel. The use of these "cold" colours ( blue, green, black, brown and grey) in the room gives an impersonal feel, a detachment from the town. For example, Sweeney does not notice, perhaps, the beauty in the world at present as he sees the world in these overly dark colours. It could also be seen as him not noticing what is going on around him, other things are pushed into the background whilst he is so focused on getting his revenge. This relates also to his relationship with Mrs Lovett, which I will talk about in another part of my analysis.

A shot from Mrs Lovett's "By The Sea"

Mrs Lovett's fantasies and daydreams are about the future that she and Sweeney could have; and the idea seems far removed from what is possible, as it is simply so far from the reality of her situation, including her relationship with Sweeney. As we can see from the image below, Mrs Lovett imagines a surreal scene, "By the sea" that is vivid; with the use of bright blue, orange and red colours. The use of warm colours ( red,orange,pink, yellow) and soft neutrals such as a clean white or pristine black give the impression of a higher class or more money. She is wearing fashionable clothing and they appear to be of a higher class. The other background characters wear a clean white, so focus is placed on Mrs Lovett in her dramatic Victorian gown. She is basking in the sun and glory of having a life that she wants so badly, but the expression on Sweeney's face tells a different story. This does add humour to the scene, yet it is also tragic and sad because Mrs Lovett is imagining something so distorted from reality, and even in such a situation, Sweeney could not be happy or give her the attention and relationship that she deserves.The uplifting colours make it seem so ridiculous and out of reach for Mrs Lovett.

Part C: Film Technique Analysis: Music

The loud, sharp, piercing sound of the Organ at the beginning of the sequence is intricate and mournful. It blends from the production names into the visual element to create suspense and a mysterious feel. The effect from this piece of music is melancholic.The quick, light buzz of the violins create a sense of urgency and add to the tension. It fits well with the visuals in the sequence also-even though the organ is not playing at this point, the mournful mood is carried through by the other music that follows. The alternation between light and dark styled music provides variation to match the visuals, and most of the musical sequences provide symbolic echoes of the plot.

For example, the images of the foreboding chair, the stylized, thick blood and the heavy cogs of the chair and the machinery of the oven are emphasized by the high-pitched violins, and the dark bass sound. The music helps to create a feel of these objects having significance and importance. It is an instrumental piece with no singing at this stage. There are changes in the pace, volume and type of music throughout the sequence, as we hear different instruments being introduced.

Diegetic sounds: squelching blood and cogs moving

The longer notes played on the Organ and darker instruments continue the feeling of the suspense and action, reinforcing the original mood that the music set. The next instruments of viola and violin which buzz and are light and short suggest a curious yet sombre feel; a softer and more inviting sound. This sound continues as we see the chimneys and the window of Mrs Lovett's attic. Now we hear some diegetic sounds; thunder, rain,the blood drops that fall with the rain and the splatter of blood on the window. These sounds help link the blood with the attic and the significance that the room holds. The killings take place here and the placement of the blood and noise at this point help to convey that. Also, when Sweeney Todd was known as Benjamin Barker, he lived with his wife and child in the room above Mrs Lovett's pie shop. This has significance to the background of the film, and his purpose for returning to Fleet Street.

The hum quickly escalates with some dark notes before a very distinct flute is introduced. This gives whimsy and a virtuous feeling to the piece. This mood relates to Sweeney's virtuous wife and the music almost plays out the back-story; dark and gloomy for the tragic, immoral parts and lighter and almost joyful for the romantic parts. We can also hear some diegetic sound with the music here: the cog creaking and beginning to turn, the blood squelching down and filling the cogs. These sounds add to the atmosphere and layer the detail in the sound. The mood is heightened when the blood drips onto the chair cogs; indicated by the increase in pace and pitch- the higher notes suggesting urgency, or lowering of pitch; the lower notes more menacing and pernicious. Once again the mood is heightened  when we see the blood and water rushing out of the pipe and into the sewer; the music matching the grim images. The music at this point is in a style that is used often in horror or thriller films before a scary moment, a violent murder or capture.

The background of the strings is still there, trumpet, trombone and drums are added, layering up the instruments until it flies into a crescendo; with rich bass notes, an increase in both pace and pitch, with the underlying low notes balancing out the sound. The crescendo could be seen as the turning point in the film or the events that led up to the film. For example, the judge taking Sweeney away, pursuing Lucy, (Sweeney's wife), adopting his daughter,or Sweeney's purposeful return.

We hear diegetic sound when the blood boils in the oven, and the flames from the oven are shown. These sounds and images link the blood and violence to the disposal of the bodies, and ultimately, the creation of human pies.

Diegetic sounds: Blood boiling and flames

The lull in the music alludes to the softer parts of the plot, and to the helplessness that some of the characters face. It releases the built up tension that the previous music has made, providing delicacy to the music.This matches the intricacy of the film and the more positive parts. For example, the flashbacks to Sweeney's life before prison and Mrs Lovett's fantasies about how her life could be with Mr Todd. The ominous tone at the heart of the piece with the strong, sharp notes returning and repeating builds up the tension and links to the more sinister events in the film.Toward the end it almost sounds like a low, echoing hum of voices, desperate and sad. 

Stephen Sondheim has used the variation of instruments to create a beautiful yet haunting opening track that engages the viewer from the very beginning; musically there is a strong, distinctive attitude to the film, without any dialogue or singing. It is unmistakable and cannot be missed. It is loud and demands attention; which links to the visual components of the film also.The forceful cutting sound of some of the instruments such as the woodwinds, the bass and the drums position the listener to be alert and want to know what happens next, preparing to be launched into a grim musical.

Mr Burton's view on the music aspect: 
“I always felt it was like a silent movie with music in it — those old black and white horror movies.When you think of people like Lon Chaney and Boris Karloff, they have a strong image of a character, sort of "let the eyes do the talking. That's why we kind of minimized the dialogue and let them tell the story through their eyes and the music." 
 
Throughout the rest of the film music is widely used to link to the plot and visual elements. At times it is softer and tender; for example when Sweeney Todd is singing about his beautiful wife and his past, or when Mrs Lovett sings " I am your friend too, Mr Todd" . The music and lyrics blend beautifully, hence when the lyric is of a darker nature, the music becomes haunting to match.

 " They all deserve to die, because the lives of the wicked should be made brief, for the rest of us death will be a relief, we all deserve to die."

 This is an example of a lyric sung by Sweeney Todd when he decides he will "relieve" as many men as he can of their lives or struggles in order to sharpen up his murderous skill until he has the chance to give the judge-who is his ultimate target. "the closest shave he will ever recieve".

It is very effective in enhancing the emotion in the lyrics and therefore fits with the plot and theme of the play, without being garish or standing out. Most of the movie is sung, and as the song is in a natural, conversational tone, it is a positive thing. In my view, the nature and brilliance of the stage musical orchestration  is portrayed artistically and in a strong style through the use of the music in the movie.

Preparation B: Genre And Atmosphere

 What is the tone? Mood of the opening? How is it created?

The film is placed in the Drama, Musical and Thriller Genres. It is firstly a recreation of Stephen Sonheim's stage show, so naturally is has a place in the musical genre. It has comedic, melodramatic, slight slapstick and Gothic elements as well.

 It is accepted as being a Horror, although it is done in a satirical way, and is more an art-film than being frightening in terms of gore, for example. It is very stylized in the way that the horror element has been done, and ultimately, this stylization and level of bloody violence is essential to the story. The plot does follow " The Demon Barber" on his journey for revenge and does have graphic elements ( Sweeney cutting his victim's throats) but it also has romance and sadness, which makes me feel that it is more of a romantic tragedy; in that Sweeney's motivation for revenge/killing comes about as a result of someone else's corrupt actions.

 Stephen Sondheim believes that it is a story of revenge and how it consumes a vengeful person. "…what the show is really about is obsession."

Director's View: ( on it being said that this is a horror-movie version of the musical..)

I don't quite see it that way. To me, it's more of a tragic romance - the tragedy of (Sweeney's) life, the tragedy of (Mrs. Lovett's) unrequited love for him. Everybody's at cross purposes. That, to me, is the grand melodramatic tragedy.

The tone is very Burton-esque; dark, quirky and "odd". The opening has use of very few colours, or colours with positive connotation. At first, seeming as though it may be filmed in black and white, the vivid red colour that is used emphasizes important objects which relate to plot and character. Grime, filth, and a sense of delinquency are shown also through the use of lighting, shadow and music. We do not see any characters or hear any dialogue in the first few minutes, which reinforces the idea of the town being deserted and dilapidated- or perhaps how the happy place and home has changed since Todd has been imprisoned. We can pick up a lot from the set-up of the opening sequence; we really see London through Sweeney's eyes or see it how he has imagined it will be when he returns. As Sweeney sings, " A great black pit". A place now so depressing, bleak, and able to drain the livelihood from oneself. The viewer is intrigued, and wants to meet the characters through whose eyes we first see London. I felt as though I were plunged into the dusky, peculiar and unpredictable world. The combination of visual elements and the music offered me a chance to escape into the bleak, old-fashioned setting.

In the first minutes of the next scene we are introduced to two important characters and their views on London. Firstly, Anthony Hope, the young sailor who is said to have found Todd floating at sea after his escape from prison and who has helped Sweeney get to London. We are also introduced to Sweeney Todd; whose difference in character is immediately evident. This part is both upbeat and has a sense of wonderment (from Anthony) and a harsh, depressing tone (from Sweeney). Sweeney may have had a similar view of London when he lived there with his wife and child, but is now a broken and demented man. The strong use of shadow, lighting, colour and lyric show these differences and enhances the mood in this part of the film.