Theo Levey

Film Opening Research

Cloverfield (2008)

- Matt Reeves
This film begins with a slide that appears to be a test screen with information about
the footage that is about to be shown. From this, the found footage style of the
film is established and we also get some context as to where the film is set (New
York) and that some horrendous disaster has taken place.
We then see a shot of Robs apartment, which again establishes location as we see
New York through the large windows. The camera then pans towards framed photos
of Robs family and friends; this creates an emotional link between the characters
and the audience, which further invests them in the film. Rob walks into his bedroom
where we see Beth lying in bed, whom he awakens to have sex with. This is effective
because it further adds to the realism of the film; these intimate, human moments
are relatable to the audience. Next we cut to footage, from around a month later, of
Robs brother Jason and his girlfriend Lily preparing things for Robs goodbye party
as he is moving to Japan; the earlier footage sets up the story and then the audience
is thrown into the real plot.
Camerawork
The entirety of this film is shot in
shaky cam style as it is a found
footage movie. It appears as if
the characters are filming the
footage themselves; this makes it
easier for the audience to
become invested in the story
because they get lost in the
sense of realism.
Mise-en-scene
During scenes where the
characters are seen running at
night, dramatic lighting cues are
used to add depth and set the
mysterious tone and mood. In
this still, characters are
silhouetted against the bright
lights as they run down the
street. Shots are graded to be
cooler in tone as this gives off an
eerie and mysterious feeling.

Theo Levey
Use of titles
At the beginning of the film, we
see a test slide with text that
gives the impression the footage
is from a US department of
defense archive. Again, this adds
to the realism of the film and
further ties it in with the found
footage gimmick.

Editing
VFX is used throughout the
movie in order to create
disastrous elements on a large
scale. An example of this is when
we see the head of the Statue of
Liberty come crashing through
the streets after the monster
attacks it. This sequence would
not have been possible without
VFX.

I selected this film because of its dramatic sequences, found-footage style and its
tremendous visual effects. Cloverfield effectively creates a sense of realism which
makes it very easy for audiences to relate to the characters and buy into the story.
There are subtle hints to the deeper plot hidden within the film that are only noticed
after multiple viewings - this leads to much higher audience engagement than other
films.

Theo Levey

Goodfellas (1990) - Martin Scorsese

This film starts with opening credits and the message that this film is based on a true
story; this true story element allows audiences to become further invested in the
film because they know it really happened. We then cut to a mid shot of the rear of a
car and then slowly pans next to it as if it is overtaking the car. Next, we cut to a shot
from inside the car of the characters in silence. This silence leaves the audience in a
state of confusion, intrigued as to what has happened and what is going to happen.
A rumbling is heard from the back of the car, which the characters, along with the
audience, are confused about.
When the men surround the rear of the car, fear and tension is brought to the
audience as they have no clue what is in the trunk of the car. The trunk is opened to
reveal a wounded man inside; the audience now immediately understand half of the
story in this scene, however, details are still vague. As our main character delivers a
line about always wanting to be a gangster, the opening titles flash across the screen
with sound effects that make the titles resemble cars flashing by on the road. This
vague but powerful introduction grabs the audience's attention, leaving them
hooked for more details as to what is happening.
Camerawork
A long, uninterrupted three minute
sweeping shot is used to show the
audience around the Copacabana. This
sensory overload shows how one can
become infatuated with the mob
lifestyle, just as Karen does within the
film.

Mise-en-scene
As Henry is a child, he looks out at the
gangsters across the street from him.
There is a strong layer of separation
here as we see the window blinds in
front of him that almost resemble jail
bars. These blinds are a metaphor for
Henry being trapped in an average life.

Theo Levey

Use of titles
We see the message that this film was
based on a true story, which draws
audiences attention straight from the
beginning. Also, the text wipes across
the screen with car sound effects,
resembling cars passing by on the
street. This technique is used to grab
audiences attention and to further
link with the opening shot.

Editing
The film begins with a sequence from
half way through the plot. This
confuses and draws audiences into
watching the whole film as they want
to know more details about what is
happening. This sequence is later
picked up in the film after the viewer
has been given full context.

I picked this film to analyse because of the breathtaking acting, gripping plot and the
constant narration by the main character. Viewers are immediately drawn into the
plot due to the violent and mysterious nature of the opening scene. This scene is an
incredibly effective opening. Also, the plot and character development throughout
the film is captivating. This coupled with the narration from the main character,
creates a classic that will be relevant for years to come.

Theo Levey

2001: A Space Odyssey (1968) - Stanley Kubrick

This film begins with a shot of a geometric alignment of the moon, earth and sun,
which is a metaphor for the films upcoming journey. Furthermore, the glistening
stars in the background also suggest that the audience could venture beyond any of
the other celestial figures on the screen. The powerful music within this opening
shot immediately prepares the audience for an epic adventure. This is an example of
titles used to create effect and to prepare audiences for the incoming plot.
Next, we cut to a prehistoric setting and see this a slideshow of the horizon followed
by land from the Earth. At a beautifully slow pace, Kubrick expresses these two
stages of nature before introducing how humans became evolved species. We see
mixed colours through cinematography to give it a natural effect. On the other hand,
the shots of land are staged in altered settings within different time zones, which
express the Earth as a large world. With no characters and dialogue, the non-diegetic
sound of birds chirping is another representation of nature. However, birds were
never seen in this chapter but still created a natural atmosphere. The slideshow of
landscape shots concludes where the slow camera movement points the audience in
an unknown direction.
Camerawork
In the opening scene, we see
a shot of the moon, earth
and sun in perfect alignment;
this epic introduction gives
audiences an impression of
the scale of the story they
are about to watch.

Mise-en-scene
As Dave is in the control
room attempting to shut
down Hal, there is an
overwhelming amount of red
in the scene. Red connotes
danger and alerts the
audience to the
dangerousness of the
situation.

Theo Levey

Use of titles
The epic opening titles here
give scale to the journey that
viewers are about to embark
on through dramatic
imagery, soundtracks and
long uninterrupted shots.

Editing
At the beginning of the film we see a match cut
between a bone-club flying through the air and
an orbital platform. This symbolises the
evolution of man and is aesthetically pleasing
to the viewer.

I chose this film because of the bold title sequence, stunning visuals and the visual
effects which still hold up 48 years later. The titles in this film are effective because
of the imagery of the planets aligning combined with the dramatic score originally
created by Richard Strauss. The use of match cuts were effective because they were
visually appealing and the mysterious nature of the opening scene, again, draws
audiences into the plot.