Wednesday, 19 October 2016

Regulations Research

As I am making a movie, I will be looking up the regulations that gives a movie its rating. For movies in the UK, the BBFC (British Board of Film Classification) has set out regulations which are used as guidelines to give a movie its age rating.

The BBFC classify films, trailers and advertisements for local authorities who license cinemas. Other videos that are regulated by the BBFC include video works that are distributed over the internet (under a voluntary, self-regulatory service), commercial and internet content distributed via mobile networks (under a voluntary and self-regulatory service).

The BBFC have specific classification considerations that are used when determining a movies age rating, these include:

  • Discrimination
  • Drugs
  • Imitable behavior
  • Language
  • Sex
  • Nudity
  • Threat
  • Violence
Discrimination:
The BBFC quotes this as "Potentially offensive content relating to matters such as race, gender, religion, disability or sexuality may arise in a wide range of works, and the classification decision will take account of the strength or impact of their inclusion. The context in which such content may appear also has a bearing. Works with such content may receive a lower category where discriminatory language and behavior is implicitly or explicitly criticized; or the work as a whole seeks to challenge such attitudes; or the work is obviously dated, with little or no appeal to children."

Drugs:
The BBFC quotes this as " No work taken as a whole may promote the misuse of drugs and any detailed portrayal of drug misuse likely to promote the activity may be cut. Works which normalize or glamorize drug misuse are likely to receive a higher classification than works which show drug misuse while emphasising the dangers. Where smoking, alcohol abuse or substance misuse feature to a significant extent in works which appeal to children, this will normally be indicated in BBFCinsight. Classification decisions will also take into account any promotion or glamorization of such activities."

Imitable behavior:
The BBFC quotes this as "Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and glamorization of easily accessible weapons, such as knives. Works which portray anti-social behavior (for example, bullying) uncritically are likely to receive a higher classification. Works which, taken as a whole, actively promote illegal behavior may be cut or refused a classification. Portrayals of potentially dangerous behavior (especially relating to hanging, suicide and self-harm) which children and young people may potentially copy, will be cut if a higher classification is not appropriate. "

Language:
The BBFC quotes this as "Language which people may find offensive includes the use of expletives with a sexual, religious or racial association, derogatory language about minority groups and commonly understood rude gestures. The extent of offence may vary according to age, gender, race, background, beliefs and expectations brought by viewers to the work as well as the context in which the word, expression or gesture is used. For these reasons, it is impossible to set out comprehensive lists of words, expressions or gestures which are acceptable at each category. The advice at different classification levels, therefore, provides general guidance taking account of the views expressed in public consultation exercises."

Sex:
The BBFC quotes this as "The portrayal of sexual activity can range from kissing to detail of unsimulated sex. The normalization of overtly sexualised behaviour is a concern at the junior categories. The classification system allows progressively stronger portrayals of sexual behaviour as the categories rise. Sex works (works whose primary purpose is sexual arousal or stimulation) will normally only be passed at the adult categories. Sex works which only contain sex which may be simulated will usually be passed at 18. The R18 category is suitable for sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images. R18 video works may be supplied only in licensed sex shops which no one under 18 may enter. R18 films may be shown only in specially licensed cinemas. We will apply these Guidelines in relation to sex to the same standard regardless of sexual orientation of the activity portrayed."

Nudity:
The BBFC quotes this as "Nudity with no sexual context is in principle acceptable at all classification levels, but will not generally occur more than occasionally at U. Nudity with a sexual context will receive a higher classification. Strong detail in such a context will usually only be passed at the adult categories (18 or R18)."

Threat:
The BBFC quotes this as "Where films are targeted at a younger audience, classification decisions will take into account factors such as the frequency, length and detail of scary or otherwise unsettling scenes as well as factors such as the impact of music and sound, and whether there is a swift and reassuring outcome. The classification of threat and horror will take account of the general tone, impact, realism and supernatural elements of a work as well as the level of detail in individual scenes. Fantasy settings may be a mitigating factor. Violence Classification decisions will take account of the degree and nature of violence in a work. Works which feature the following are likely to receive higher classifications: • portrayal of violence as a normal solution to problems • heroes who inflict pain and injury • callousness towards victims • the encouragement of aggressive attitudes • characters taking pleasure in pain or humiliation • the glorification or glamorization of violence Sadistic or sexual violence is likely to receive a higher classification. Any depiction of sadistic or sexual violence which is likely to pose a harm risk will be subject to intervention through classification, cuts or even, as a last resort, a refusal to classify. We may refuse to classify content which makes sexual or sadistic violence look appealing or acceptable, reinforces the suggestion that victims enjoy sexual violence, or invites viewer complicity in sexual violence or other harmful violent activities. We are also unlikely to classify content which is so demeaning or degrading to human dignity (for example, it consists of strong abuse, torture or death without any significant mitigating factors) that it may pose a harm risk."


The Classification category
  • U
  • PG
  • 12A
  • 15
  • 18
  • R18



U ( Universal - suitable for all):



A film with the category of U is suitable for audiences aged for years and over  U films are said to be set within a positive framework, meaning that they should refrain themselves from making children sad, reassuring counterbalances to any violence, threat or horror.

for a U film, the specific classification considerations have limitations (as they are for audiences which are young).

Discrimination: Discriminatory language  or behaviour is rare, rarely accepted when clearly disapproved within the movie.

Drugs: References to illegal drugs or drug misuse must be infrequent or have a clear education purpose or anti-drug message (which is suitable for young children)

Imitable behavior: potentially dangerous or anti-social behavior which young children could copy must be clearly disapproved or. No emphasis on realistic or easily accessible weapons.

Language: Infrequent use only of "very mild" bad language.

Nudity: Occasional nudity, no sexual context.

Sex: only very mild sexual behavior like kissing and references to such behavior.

Threat: scary or potentially unsettling sequences should be mild, brief and should not cause any form of anxiety to young children.

Violence: Violence will generally be very mild, only acceptable if it is justified by context (for example comedic or unrealistic).


PG (Parental Guidance):


A PG film should not unsettle a child that is aged 8 or older. Unaccompanied children of any age may watch, but parents are advised to consider whether the contents may upset younger (or more sensitive) children.

Discrimination: Discriminatory language or behavior is unlikely to be acceptable unless clearly disapproved of but unlike the Universal rating, is acceptable in a educational or historical context.

Drugs: References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.

Imitable behavior: No detail of potentially dangerous behavior which young children are likely to copy, if that behavior is presented as safe or fun. No glamorization of realistic (or easily accessible weaponry). There should be no focus on anti-social behavior which young children are likely to copy.

Language: "Mild Bad" language only. Aggressive or very frequent use of "mild bad" language may result in a higher age rating.

Nudity: There may be nudity with no sexual context.

Sex: sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo's only.

Threat: Frightening sequences or situations where characters are in danger should not be prolonged or intense.

Violence: Violence will usually be mild. However there may be moderate violence, without detail, if justified b its context.


12A/12 - Suitable for 12 years and older.

Films classified by 12A are generally not suitable for children under the age of 12. No one younger than 12 may see a 12A film in a cinema unless they are accompanied by an adult.

Discrimination: Discriminatory Language or behavior must not be endorsed by the work as a while. Aggressive discriminatory language or behavior is unlikely to be acceptable unless clearly condemned.

Drugs: Misuse of drugs must be infrequent and should not be glamorized or give instructional detail.

Imitable behavior: No promotion of potentially dangerous behavior which children are likely to copy. Weapons which are easily obtainable like knives should not be glamorized. There should be no endorsement for anti-social behavior.

Language: There may be moderate language. Strong language may be permitted, depending on the manner in which it is used. Strong language must be infrequent within the work as a while and must be justified via context.

Nudity: There may be nudity in a 12A film but if taken in a sexual context, it must be brief and discreet.

Sex: Sexual activity may be briefly and discreetly portrayed. Moderate sexual references are permitted but frequent,crude references are not likely to be accepted into this age rating.

Threat: There may be moderate physical and psychological threat and horror sequences.Some scenes may be disturbing but the overall tone should not be. Horror sequences should not be frequent.

Violence: Moderate violence is acceptable but it should not "dwell on the detail". There should be no emphasis on blood (or injuries) but occasional gory moments may be permitted if justified by the context. Sexual Violence may only be implied or briefly (and discreetly) indicated, justified by the context. 


15 - Suitable for 15 years and older


No one younger than 15 may see a 15 film in cinema. No one younger than 15 may rent or buy a 15 rated film.

 Discrimination: The work as a whole must not endorse discriminatory language or behavior, although there may be racist, homophobic or other discriminatory themes and language.

Drugs: Drug taking may be shown but the whole work. Drugs must not promote or encourage drug misuse (for example, through instructional detail). The misuse of easily accessible and highly dangerous substances (like aerosols) is unlikely to be acceptable.

Imitable behavior: Dangerous behavior (for example hanging, suicide and self harm) should not dwell on detail. Whether the depiction of easily accessible weapons is acceptable and will depend on factors such as realism, context and setting.

Language: There may be strong Language. Very Strong language may be permitted, depending on the manner in which it is used, who is using the language and its frequency as a whole.

Nudity: There are no constraints on nudity in a non-sexual or educational context. There may be nudity in a sexual contexts but without strong detail.

Sex: sexual activity may be portrayed but usually without strong detail. There may be strong verbal references to sexual behavior but the strongest references are not likely going to be accepted unless justified by context.

Threat: there ma be strong threat and horror. A sustained focus on sadistic or sexual threat is unlikely to be acceptable.

Violence: Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are likely to not be accepted. Strong sadistic violence is also unlikely to be accepted. 
There may be detailed verbal referenced to sexual violence but the depiction of sexual violence must be discreet and justified by context.

18 - Suitable for adults only:

No one younger than 18 may see an 18 film in cinema. No one younger than 18 may rent or buy an 18 rated movie. Adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

Material is in breach of criminal law or has been created through the commission of a criminal offence. Material  appears to risk harm to individuals or through their behavior to society. 


Sex work at 18 is explicit, containing clear images of real sex, strong material animated images or other very strong sexual images
are confined to the R18 category.


I do not need to go into detail of the R18 category but a quick description of an R18 is to be shown only in specially licensed cinemas or supplied only in licensed sex shops to adults only.






This information was sourced from the British Board of Film Classification's  website

Thursday, 13 October 2016

Detailed Synopsis of "The Last Few"


I have decided to go down the path of making a movie for my media project. I feel like making a movie would benefit me more for what I want to do when I am older. I have decided to make a movie in the Zombie genre. I have always been a fan of the Zombie Genre, watching the show "The Walking Dead" and it's companion show "Fear the Walking Dead" ever since they started. I somehow feel like I know what exactly I would have to do to make a zombie film and feel like I could do a good job. I have watched many different types of zombie films and shows and feel like I have a true understanding on what makes a good zombie film and what makes a bad one.

I have decided to name my film "The Last Few" as the story behind my film is that Humans died out very fast. For my 2 minute introduction scene I want my main character to be driving down the road with his friend, another survivor and find a body with a gun laying in the middle of the road. The Main character is going to pull up and get out of the car, walking over to the body, preparing to pick up the gun he notices that the body has been bitten/scratched. Being very cautious the character bends over the body to grab the gun fast, as he does the body swings up and grabs him, almost biting him but the other survivor shoots it just in time.
This would be a good way to start of my movie as it introduces some of  living characters in the film and also introduces the though of zombies to the film.

After this the characters are going to drive down the road, talking about something when they come to a halt (for some specific reason I have not yet thought about). They are going to be pulled out of the car by a group of bandits and their stuff is taken, they have burlap sacks put over their heads and then they are taken to a specific location, controlled by said bandits and are beaten.

My 2 minute clip will be about my main characters escaping from the bandits with a smart use of zombies (as this area would have zombies just outside). I really want to put an emphasis on the danger of zombies in my film by making it so that you are more than likely going to be killed by them than anything else.

I want to do this because no film/TV show based on zombies really directs the zombies as the main threat when bandit/rebellious characters are thrown into the mix.

This is just an initial plan to my movie, something that could be changed in the future if I wanted to but for the meantime this is the current story for my movie.

Tuesday, 11 October 2016

Textual Analysis of Shaun Of The Dead

As I mentioned in the first Textual Analysis of "World War Z", everything in the filming world happens for a reason. Certain Shots can be used to portray different emotions, emotions that other shots cannot give.

For a contrast to the Textual Analysis of "World War Z", I am going to do an Analysis of "Shaun of the Dead", in specific the "Plan" scene which was made for comedic purposes. I will be doing this so I know what is done to make this scene less serious than the film "World War Z" so I can see how to make a film if I went down a less serious, more comedic take to my Zombie Film.

This is the famous plan scene from "Shaun of the Dead", below I have bullet pointed everything that happens to see if there are any recurring themes between the WWZ and SotD clips.

  • Dolly shot of camera moving backwards, bringing Shaun into the scene. Low angle camera used.
  • Shaun turns around, Camera moves in front of Ed's perspective, Zooms into Shaun's face.
  • Montage of plan starts with plan scenes.
  • Whip pan transition to Match On Action of car door closing.
  • Match On Action of  other car door closing.
  • Match On Action of Shaun slamming his foot onto the accelerator with zoom as he connects with the accelerator.
  • Track shot of car driving away from its parked position
  • Transitions in a pan to another clip of the car driving down the road.
  • Cuts to a shot of  Ed and Shaun running up to Mum's house, Dolly shot moving backwards slowly.
  • Match On Action of Shaun ringing the doorbell, zoom after connecting with doorbell.
  • Tilt Transition onto Zombie Philip turning around, camera zooms out.
  • Cuts to behind Zombie Philip zooming in
  • Tilt Transition of Mum, Ed and Shaun running from the house to the car, Camera zooming in.
  • Transition onto Match On Action of the sign saying "No Parking" outside Liz's place.
  • Transition when car goes past the sign to car breaking.
  • Match On Action of Liz at the door beckoning them over.
  • Scene cuts to them running to the door, dolly shot moving backwards.
  • Pan transition to Match On Action of  a "Cup Of Tea" (lined up exactly as it is said in the plan).
  • Scene cuts to them all drinking tea, zooms onto Shaun breaking the forth wall, winking at the camera.
  • Pan Transition going back to reality, Ed says why do we have to go to Liz's? (Static Shot)
  • Shot Reverse Shot, camera tilts up slowly.
  • High angle on Ed, Low angle on Shaun.
  • Shot reverse shot, emphasize on Ed's face.
  • Shot reverse shot, emphasize on Shaun's face.
  • Shot reverse shot three more times.
  •  Final SRS, Second montage of plan starts.
  • Whip pan transition to Match On Action of car door closing.
  • Match On Action of  other car door closing.
  • Match On Action of Shaun slamming his foot onto the accelerator with zoom as he connects with the accelerator.
  • Track shot of car driving away from its parked position
  • Transitions in a pan to another clip of the car driving down the road.
  • Cuts to a shot of  Ed and Shaun running up to Mum's house, Dolly shot moving backwards slowly.
  • Match On Action of Shaun ringing the doorbell, zoom after connecting with doorbell.
  • Tilt Transition onto Zombie Philip turning around, camera zooms out.
  • Cuts to behind Zombie Philip zooming in
  • Tilt Transition of Mum, Ed and Shaun running from the house to the car, Camera zooming in.
  • Transition onto Match On Action of the sign saying "No Parking" outside Liz's place.
  • Transition when car goes past the sign to car breaking.
  • Cut to Shaun, Mum, Ed and Liz running back to the car (Liz is being carried by Shaun). Camera slowly zooms
  • Pan Transition with Match On Action of  "Cup of Tea" (lined up perfectly with the audio queue of cup of tea)
  • Transitions to a wide angle shot that zooms in on Shaun winking at the camera.
  • Pan Transition to reality. Shot reverse Shot between Shaun and Ed  X9, Sound bridging conversation. (static camera)
  • Whip pan transition to Match On Action of car door closing.
  • Match On Action of  other car door closing.
  • Match On Action of Shaun slamming his foot onto the accelerator with zoom as he connects with the accelerator.
  • Track shot of car driving away from its parked position
  • Cuts to a shot of  Ed and Shaun running up to Mum's house, Dolly shot moving backwards slowly.
  • Match On Action of Shaun ringing the doorbell, zoom after connecting with doorbell.
  • Tilt Transition onto Zombie Philip turning around, camera zooms out.
  • Cuts to behind Zombie Philip zooming in.
  • Cut to Shaun, Mum, Ed and Liz running back to the car (Liz is being carried by Shaun). Camera slowly zooms
  • Tilt Transition to Match On Action of "The Winchester" Sign/
  • Cut to Car pulling up just outside "The Winchester".
  • Pan Transition to Match On Action of a Glass of Beer.
  • Cuts to Wide angle shot, zooms in on Shaun as he winks at the camera.
  • Pan Transition to low angle of Shaun ending the montage.
  • Sound bridge and cut to next scene which is a wide long shot behind Ed.
  • Shot Reverse Shot, Ed stands up. Camera tracks him moving.
  • Camera cuts to behind the TV, emphasizing the sound of the news on the TV.
  • Camera cuts to in between Shaun and Ed, zooming in on the TV. TV gets louder.
  • TV contradicts the plan of Shaun and Ed.
  • Camera cuts back behind the TV showing Shaun and Ed, Shaun turns the TV off.

That is the end of the clip and looking at this and the World War Z clip, I think bullet pointing everything has really helped me, showing me everything that is put into a scene. This shows me in specific how to do nice transitions and how I would go about making a comedic zombie film (if I wanted to go down that route).
Shaun of the Dead was made with a the small budget of 4 Million Dollars. This budget is small compared to most films in more recent years. As this film is considered a small scale film (even though it is a great one) it received 30 Million Dollars from the Box Office. 


Looking at the clip, I can see there is an overwhelming amount of match on action used in the clip I feel like this adds to the comedic value of this scene but after watching the clip with no sound I can see that it isn't that funny. I think the Match on Action and the use of pan transitions just add to the comedy when intertwined with what is said and the sounds that are heard. I feel like it is the funniest way to portray the plan as it shows it is hectic. It is edited for the voice-over.


Sound is a key feature which really makes this scene funny.  I'm looking at this point purely for its comedic value, not for the zombie aspects. When the clip transitions from reality to the plan, funny music is played in the background to emphasize the humor, we also hear whipping sounds for when Shaun swings his bat and even when he slurps his tea, two more sounds found in comedy films. All the main thing that makes this funny though, is the voice-over. How he goes over the plan,

Now I will go into a Textual Analysis of Shaun of the Dead, looking into the genre, audience and narrative of the film.

I would say that the film "Shaun of the Dead" goes under many types of genres:
  • Horror
  • Comedy
  • Action
  • Parody
  • Post-Apocalyptic Fiction
I would say that "Shaun of the Dead" falls under these genres because in every sense of the word, it is a comedy film. It is an iconic cult classic, part of the "Three Flavored Cornetto Trilogy". It falls under the category of horror as even though it is a comedy, it is still a zombie movie and there are scenes that include violent scenes and gore, these same scenes also cause the film to be in the Action Genre as they kill many zombies and many characters bite the bullet.
One thing I must point out is that the "Three Flavored Cornetto Trilogy" is a parody, taking the mockery of other films by taking a comedic approach to cliche's used in certain genres. They usually film these types of films in a rather non-conventional way, doing some things that have never been explored in other films of its type.

As I mentioned in my other Textual Analysis, most zombie movies try to "Cure the zombie virus". This is something that is totally different compared to most other films. Shaun of the Dead is based of an Average Joe who just so happens to find himself in a zombie outbreak in his hometown. He is put into a situation he knows nothing about what is really going on. He then decides on a plan of action to survive the apocalypse, knowing that this wont last forever.

The Zombies used in "Shaun of the Dead" contrast greatly with the zombies in World War Z. First of all, The zombies in WWZ are more like living infected which can sprint really fast whereas the zombies in Shaun of the Dead are quite the opposite. People are definitely dead and are "Shamblers". They are very slow moving zombies which get slightly fast once "motivated".

As for the audience, I would say they are going for the same audience of World War Z, going for zombie lovers along with teenage audiences. I would say that this film also goes for another audience set, comedy lovers. This film really puts emphasis on comedy, mocking the original zombie films by using cliche's to portray comedy.

Shaun of the Dead is pure comedy genius. It is one of the single best comedy films (and zombie films as a standalone concept). It is genuinely funny and maintains the comedy of the "Three Flavored Cornetto Trilogy" throughout the film and the others of the trilogy. They are films that link themselves together to give a special theme which is a staple of Simon Pegg's work.

Thursday, 6 October 2016

Textual Analysis of World War Z

In the world of filming, everything happens for a reason. The shots that are used in the film are used  to portray specific emotions and make the audience feel said emotions. 

for a quick look of how good editing is used in a zombie film, I watched the opening scene of World War Z to see how they portrayed the outbreak. I can see after watching the 6 minute shot that insanely close/fast editing was used to show the true chaos of the outbreak. Below I will add the opening scene and bullet point what is going on in this 6 minute clip to show just how action packed and how much editing has been done  just in this not so simple 6 minute clip.


  • Starts with a tilt camera looking at the long traffic block in Philadelphia
  • Sound bridge from end of tilt scene to Shot Reverse Shot scene in car
  • Match on action with the children whispering to each other
  • Shot Reverse Shot filmed from over the shoulder and from 4 different characters
  • Shot of them talking from outside the car, looking through the windshield (hearing the sound of inside the car)
  • Average Family playing a guessing game
  • Shots showing the helicopter through the sun roof, the taxi pulling out of the lane, people running and Match On Action of BP turning on the radio
  • Characters confused at whats going on moves with traffic
  • See cop bike coming
  • Match on Action of bike Hitting of the Side Mirror
  • Same camera from original Tilt Scene shows the Cop Bike continuing down the road with sirens on
  • Characters are confused and disgusted at the cop
  • Shot Reverse Shot between BP and a taxi driver, emphasising that no-one (but the police) actually know what is going on.
  • Explosion, makes character flinch
  • Turns to look where it came from, scene cuts to the explosion down the road
  • People Start screaming and running away
  • Shaky Cam from a civilians point of view looking around, at the explosion and the people running and screaming (shows tension and that action is about to come)
  • BP gets back into car as another Cop (on a bike) tells him to.
  • Cop on bike says "Remain in your Veh-" then gets hit by a truck which continues to ram through all of the cars in front of it (You can hear the truck hit the cop on the bike as if the audio was captured outside even though you hear the cop through the glass as if you were in the inside)
  • Main Characters are Mortified, The younger child is on the verge of crying and the Older one is scared
  • BP follows the truck as it has paved a way through the traffic, action music starts
  • Match On Action of the truck drivers boot stuck on accelerator
  • Multiple types of shots used to show the truck crashing through cars and the Main Characters tailing behind it
  • Tilt/Tracking camera follows the truck through the highway from above the traffic
  • Over the Shoulder shot of a civilian recording the truck crashing through the traffic cowering behind a corner
  • Scene swaps to inside the car, The younger child cries "I want my blanket" (midway through talking, over the shoulder shot used  to show BP's Expression as he follows the truck)
  •  Camera swaps to be in the middle of the children and turns to the mother as she looks behind to say that it is packed away and they will get it as soon as possible
  • Shot Switches to the statue watching the Truck collide with another large truck, falling over
  • Scene swaps midway to a shot between the children and match on action of the child being even more scared crying for her blanket again. (shot between children shows the truck falling over from where it swapped in the previous scene
  • Match on Action of the Older Child sitting on the floor of the back of the car rather than sitting in her seat
  • Camera swaps to BP swerving (seen by him moving the steering wheel violently), cuts to a shot outside of the car seeing it swerving
  • Fast cuts empathising that they are going fast.
  • Cuts to inside the car of the Mother and BP asking the Older child to get back into her seat and do up her seat belt
  • Insisting that she does it, collides with a moving Ambulance hitting them from the side
  • Fast edits showing that they were hit hard
  • Airbags inflate
  • Ringing noise with more fast cuts between shots suggests it hurt the characters
  • Music and every other sound stops, cannot hear the people screaming, only the ringing
  • Hear the Characters inside the car ask each other if they are okay in the background of the ringing noise fading
  • Cut to outside shot, still ringing but the civilians screaming and running can be heard again
  • Shot sees the main characters get out of the car, still overwhelmed from the crash and the previous moments, Sirens can be heard
  • Cops can be seen in between the civilians trying to calm the situation down
  • Match On Action of a camper van stopping and the driver getting out to run away (noticed by BP)
  • More shots of the civilians running away from above

At this point we are only 3 minutes and 37 seconds into the scene and this has all happened, This is just a quick bullet point list, not even going into detail what is fully happening. This just shows how much is actually in this scene, this scene is so in depth that it just shows the sporadic nature of the entire scene. This scene shows the true chaos of the situation.


One interesting fact I found out about this scene is that this was actually filmed in Glasgow to portray Philadelphia. This shows how film directors make one place seem like another because of the weather, the people on the scene and  how they use special effects to recreate the city. One more point to add is that the cars in the scene are all left hand drive just like America whereas Glasgow is Right Hand Drive.


I think that bullet pointing what is actually happening in the scene has truly helped me envision what it would take to make a scene like this, it would take weeks (Now I can understand why it takes so long for films to actually be edited). This has helped me take into consideration what it takes to make a chaotic scene just like this. Personally, for my opening scene I will not be adding a chaotic scene to the scale of this as I do not feel like it would fit my movie although I do like the sporadic nature of the scene itself, an idea I may take forward into my own opening scene if I can properly implement it.