Kurt cobain montage of heck case study

Kurt cobain: montage of heck 

Directer: Brett Morgan 

Produced by: Brett Morgan, Danielle Renfrew behrens

Written by: Brett Morgan 

Music by: cobain, nirvana, Jeff Dana 

Edited by: Joe beshenkovsky, Brett morgen 

Production company: hobo documentary, universal pictures, public road productions, the end of music 

Distributed by: home box office (USA) universal pictures 

Release date: january 24, 2015 (sun dance), April 24,015 

Running time:145 minutes

Country: United States 

The documentary is directed by Brett Morgan who began work on it in 2017 when cobains widow, Courtney love,capproached him with the idea. It is the first documentary about cobain to be made with co operation with his family. Morgen and his team were given access to the entirety of cobains personal and family archives. The documentary contains footage from various nirvana performances and unheard songs, as well as unreleased home movies, recordings, art work, photography, journals, demos and songbooks 

The film premiered at the sun dance film festival on January 24th 2015' and was subsequently shown at the Berlin international film festival on February 8 2015, the film revived a limited theatrical release in the United Kingdom on April 10, 2015. In the United States, universal studios distributed the film for a limited theatrical release on April 24th, 2015 

The film grossed $107,055 during the first two days of its limited theatrical release in the United States.^[13] In the United Kingdom, where it was released on home video on April 27, 2015, the film topped the Official Charts Company's UK Music Video Chart Top 50 for the week of May 3–9, 2015^[15] and peaked at number six on the UK Blu-ray Chart Top 100,^[16]number 13 on the UK DVD Chart Top 100,^[17] and 11 on the U

Along with the film, a companion book of the same name was released. It is co-authored by Richard Bienstock and Morgen, who contributed a foreword. The book contains animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film. Two editions of the book were published. Insight Editions published the North American edition, which contains 160 pages (

Mad max case study

Mad Max: Fury Road is a 2015 post-apocalyptic action film directed and produced by George Miller, and written by Miller, Brendan McCarthy and Nico Lathouris. The fourth instalment in the Mad Max franchise, it is an Australian and American^[6] venture produced by Kennedy Miller Mitchell, RatPac-Dune Entertainment and Village Roadshow Pictures

Fury Road was in development hell for many years, with pre-production starting as early as 1997. Attempts were made to shoot the film in 2001 and 2003, but were delayed due to the September 11 attacksand the Iraq War 

He briefly considered producing it as a computer-animated film but abandoned it in favor of live-action. In 2009, Miller announced that filming would begin in early 2011. Hardy was cast as Max in June 2010, with production planned to be filmed in November 

The film wrappedin December 2012, although additional footage was shot in November 2013.

A game adaptation was released a few months after the film, which bundled the game and the film together which not only created more revenue but also more hype for the film

Mad Max: Fury Road became a moderate hit at the box office. When comparing the final theatrical gross to its $200 million budget (including production, marketing and distribution costs), it was an average hit, with Forbes comparing the box office figures of the film to Edge of Tomorrow, calling it "too expensive, but not really a flop."^[103][104] According to Forbes, one of the reasons the film emerged less successful than hoped was its cancelled release in China; success there could have aided the film in at least passing $400 million.^[105]It grossed $153.6 million in North America and $222.2 million in other territories for a worldwide total of $375.8 million.^[5] It had a worldwide opening weekend total of $109 million,^[103] and went on to become the second highest-grossing Warner Bros. film of 2015 (behind San Andreas),^[106] and the nineteenth highest-grossing film of 2015 worldwide overall.^[106]

In the United States and Canada, Mad Max: Fury Road opened simultaneously with Pitch Perfect 2.^[107] It opened Friday, 15 May 2015, across 3,702 theatres, and earned $16.77 million on its opening day.^[108] This included $3.7 million it made from Thursday night run from 3,000 theatres.^[109][110] In its opening weekend, the film grossed $45.4 million, finishing in second at the box office behind Pitch Perfect 2 ($69.2 million).^[111] Contrary to 2015's other Academy Award for Best Picture nominess, Mad Mad: Fury Road became the only film (out of the 8 films) which did not get any box office bump after nominations were announced in January 2016. However, Fury Road was released 8 months prior to the announcement and had ended its theatrical run on September 24, 2015.^[112][5]

Field in England case study

Director-Ben Wheatley 

Screenwriters- Ben Wheatley, Amy jump 

Produced by- 

Antonio Gould, Anna Higgs, Claire James, Andrew starke,Pete tombs, rook films 

Music- Jim Williams 

Cinematography- laurie rose

Editors- Amy jump, Ben Wheatley 

Cast- Julian barret, Peter ferdinado, Richard glover, Ryan Pope, Reece shear smith, Michael smiley, Sara Dee 

ALL OF THEM ARE ENGLISH 

Film was developed and financed by film 4.0, division of film4

Shot in black and white 

£300,000 production budget 

Screened at karley vary international film festival on the 14 of July 2013 

Released in the uk on 5th July- through several platforms, released in cinema, on dvd,free to and video on demand 

Draft house films accursed rights to show the film in America, 

Wellons brewery created a limited edition ale to give to cinema goers 

Promotion material

Films and posters 

Trailers 

Figures

Generated £21,399 in opening weekend 

Competed with the hottest weekend of the year, along with major sporting events,like wimbolden, rugby final 

On to it played on film four without commercial breaks, had 288,000

Made the number one Twitter trending topic for a whole day in the uk 

Opening weekend the film sold 1462 DVDs COPPIEs and 11,000 shipped to retailers since 

iTunes,Amazon, 4od sold 1000 copies 

Sale all on the same time helped with generating buzz 

First film to be developed by film 4.0 

reflective report

Our scene opens with a stationary wide shot of our heroine walking into the distance, we wanted to give the impression of magnitude and size to the setting out scene is set in, the graveyard which we filmed in was full of tombstones that were worn and crumbling, which we thought not only served as a metaphor for the desecrated, crumbling society that governed the world. wide shots are typically used in post apocalyptic sci fi cinema, especially mad max, the road and planet of the apes, to portray the space and isolation within the world. Following this we used straight cuts to move from shot to shot, in the group we had several disagreements on whether or not straight cuts were the right choice for the scene or at least the transitions in this particular part of the scene. We settled on straight cuts, as they not only created tension due to the fast, frequent cuts, but also to contrast against the long, drawn out feeling of each shot

Straight after this we have a  moving track left shot of our heroine walking down the stairs and into the tunnel, we used this type of shot to give the "world" our film is set in life, by moving the camera alongside the protagonist we can create a sense of mystery to the world. we attempted to keep the colour palate very bleak and drab, primarily this was to represent the wasteland that our scene is set within. Time and war has eroded the landscape, the people and the lives within it, to represent this we wanted to use worn, battered and dirty clothes, our final choice was a long blue trench coat, ripped leggings and a old t-shirt, these choices were to highlight the fact that our heroine was an every woman, for example if we were to use road leathers or full denim then we'd get the impression that she was a warrior, a fighter rather than a survivor, which is what we our heroine to be.

We wanted to keep the shots in each shot very focussed on the heroine, we tried to keep her centre in every scene, to convey to the viewer that she was the centre of the world, that everything evolved around her, which in a survivor, survival of the fittest, would apply. Following this we have an extreme close up of our heroines eye, this was chosen to give emphasis on perception and how vital a skill it would be in the wasteland. After the close up of the eye, we have a fade which cuts to a stationary wide shot of the heroine walking up towards the garage, a fade was used here to give the illusion that time and distance has passed. The stationary wide shot was, similarly to the first shot, used to give a sense of location and atmosphere to the shot, with this shit we are able to see the world with more clarity, compared to a tighter shot. The location around the garage naturally looked like a wasteland, and the building we filmed in was de-creped and abandoned, meaning the grounds were untamed and unkempt, serving as a perfect location. At this point in the scene we have three extremely fast straight cuts, throughout the sequence of her opening the door, we cut to a backwards shot,a frontal shot, and a side shot of the opening of the door, these shots all happen within a small time zone, around 5-6 seconds, these consecutive quick shots help to build tension.
if we notice the audio in this shot, it seemingly cuts very abruptly, this was a dramatic choice as in all the shots before hand it was very fluid and almost dream like. however when she steps into the garage it just stops, as she walks forward, a very low rumbling can be heard. the low rumbling which created an atmosphere of tension, with it seeming like there's another presence in the room, as the angle of the camera was front facing, you are unable to see the back of the room, as the shot progresses, our heroine walks to the side of the room, the camera tracks right, following her, almost stalking her. during this particular shot the overall theme of the scene changes from a post apocalyptic sci fi film, to a straight down horror film, with all the conventions of one. the colour black is the most dominating colour within the garage scene, with it very often taking up a large majority of the screen, the grungy, stained interior of the room gives the impression that the garage is in disrepair, but the relatively clean empty packets, and tins that are still chromed tell us that something quiet possibly still lives in the garage.
if we were to re shoot our film, one of the ways we could improve the quality of the shots would to be to use a movable tripod, to shoot pans and tracks, we used a stationary tripod, which does work in the scene, but by using a movable tripod, we could still get the straight, unwavering shots we wanted, but could also rotate around objects,people, locations, to create a more three dimesional film.

Aims and context

The film sequence I will be creating will be based around the genre of post war/apocalyptic dystopian films. The sequence will also be heavily inspired by the game "fallout" which is also set in a world following its nuclear destruction.  In doing so we will need to use a certain colour pallete throughout the sequence, focussing on Browns and blacks, symbolic of the dark future that is representated in the sequence. The sequence will involve two "survivors" being chased up a hill by two "feral ghouls". Once at the top of the hill the survivors will face the ghouls and shoot them,ending the sequence. To capture the atmosphere of decay we will have to use outfits that are distressed, worn and ripped, by doing this it will create the impression that both the people in the clothing, and the clothing itself has been ravaged by time and wear, helping the sequence look like it truly is set in the post apocalypse. 

With regards to cinematography, we want to keep the shots broad and wide, meaning that the viewer can get a sense of the devestation in the world 

We will also be shooting in naturally decreped locations, such as abandoned locations, like buildings or woodland. This is to portray the world as unwelcoming and eerie, plus the minimum amount of people within these locations will help develop the themes of isolation and loneliness, which is what the theme of sci fi/post apocalypse is known for, we will also be using quick, sharp jump cuts between the actors and the items, people they are looking at, also known as parallel cuts. Close ups will also be used of items of importance, such as barrels of scratched up guns, eyes and scars, which will help the theme become more obvious, 

Production, marketing and revenue for UK and U.S. Based films

Mad max- US block buster 

Release date for the U.S.: 15 May 2015

Release date for the UK : 14 May 2015 

Produced by Kennedy Miller Mitchell and ratpac dune entertainment 

Pre production began in 1997' early attempts to shoot the film in 2001 and 2003 but were stopped because of the September 11 attacks and the Iraq war 

Original director 

In its opening week it earned $45 million 

Production budget was 150 million 

Max-Tom hardy 

Charlie theron- imperator furiosa 

Nux- Nicholas hoult

Immortan Joe- Hugh keaysbryne (was in original) 

Mad Max's advertising consisted of the generic, movie posters, interviews and trailers, also using the slogan "what a lovely day" to help advertise. However a compilation of graphic novels entitled "mad max:fury road" were released a year before the film was released, describing the prologue 

Tom hardy is traditionally know for action roles, locke, kray twins 

A video game was made to accompany the film, the game came out a few months after the films launch which created a boost in sales of the film 

Interviews and trailers were released leading up to the launch, including a joint interview with the director and Tom hardy, four posters were created, three of which was a shot of max, furiosa and immortal Joe, with the final being a shot of the war rigs in the sand 

Production cost, 50,000

Opening week. 0.3 million 

Troll hunter U.S. release date 10 June 2011

UK release 15 June 2011 

Director:  André Øvredal 

Produce :John_M._Jacobsen

Filming took place in the forests and mountains of Western Norway, and actress Johanna Mørck called it an exhausting experience.^[5] According to director André Øvredal, the team tried to maintain maximum secrecy around the project. They kept both the title and cast secret until shortly before the première, dropping cryptic teasers to create a viral effect. Producers John M. Jacobsen and Sveinung Golimo, whose production company were also responsible for the highly successful 2008 film Max Manus, reported great international attention around the film. Already before the première, several American companies had expressed interest in doing a remake. For the film's final scene, a clip of former Norwegian Prime minister Jens Stoltenbergspeaking about an oil field outside Norway called the Troll Field was edited to create the appearance of him admitting the existence of trolls. 

• Otto Jespersen as Hans the trollhunter
• Hans Morten Hansen as Finn
• Tomas Alf Larsen as Kalle
• Johanna Mørck as Johanna.      

Trollhunter is an interesting analysis for advisesment 

The grand Budapest hotel 

The Grand Budapest Hotel grossed $59,100,318 in North America and $115,500,000 in other territories for a worldwide total of $174,600,318 against a budget of $26.7 million.^[96]

How does the lighting and mise en scene in the elevator scene of drive create tension?

Drive is a film by director Nicholas winding refn, who is most know for his work direction drive and only god forgives. Drive is about a career criminal who attempts to start a normal life, but is eventually dragged back into a life of crime. The elevator scene can be seen as the culmination of the drivers anger and pain about his situation finally being released.

The scene opens with Irene and the driving standing on either side of the elevator, the hall they are standing in is stained and dirty, the wallpaper is pealing of the walls and the light fixtures are dim and flickering, this can be seen as foreshadowing for the events that are about to take place, a dirty room for the setting of a brutal and dirty crime. If we look at the actors positions we can see that Irene is standing on the right side and the driver on the left, this can be literally interpretated as Irene being on the right side, the pure and in corrupted side, and the driver being on the left, symbolising that he's not pure enough to be on the right side.the drivers jacket is also very important to the scene, his jacket is plain white with a scorpion embroided on the back, the scorpion, apart from looking intimidating and blunt has a story about it which was one of the inspirations for the story. The insparation for the jacket comes from a old Japanese folk tail about the frog and a scorpion, the tale is about a scorpion who wants passage across a river stream, he asks a frog if he may ride in his back to the opposite bank. At first he is turned down as the frog says "no because you'll sting me" the scorpion replies "if I sting you then we'd both drown" half way across the stream the scorpion stings the frog and they drown. Right before the two sink to the bottom of the lake, the scorpion says "I stung you, as it is my nature to sting, and you can't stop nature" this can be seen as a representation of the driver trying to escape a life of crime, only be to dragged back in to it, as it is his nature to do so. 

The elevator doors open and standing directly centre shot, we see the hitman. Take notice of the lighting in this shot, we have to dim, cracked lights on the outside of the elevator illuminating Irene and the driver in an almost supernatural glow, but inside the elevator the light is intense and bright, with the hitman appearing warped by the light, again Almost supernatural. We can say that the light is this bright to lure the driver to his fate, like an animal being lured into a trap. The two enter the elevator and again stand against the wall starring at the floor. The elevator doors close slowly, almost stopping at one point before closing fully to heighten the atmosphere of decay and damage which inevitably leads to the building of tension. 

If we look at the hitmans clothing we can tell that his suit is lavish and expensive, it's colourful and clean made out of expensive materials, this contrasted against his scarred, broken and scratched face shows us that he hasn't bought this suit with clean, earnt money. This contrast creates tension as we are aware of the danger this man is radiating, and we feel tense as we are scared for the driver, but more so for Irene who isn't used to this life of crime the driver is so integrated in. The lighting in this scene is bright and sharp, scrolling down the sides of the elevator vertically, which means that everything in the elevator is illuminated, showing us every detail in all of the actors, this lighting could be a metaphor that in this moment, nothing is hidden, all of the characters actions and emotions and fears will be shown to us, the viewer. 

The hitman and the driver look at eachother, the light from either side of the elevator illuminates only half of there face, possibly resembling the two's mysteriouness. The driver reaches behind him and pushes Irene to the side, as he does this the lights dim to an eerie glow, the hitman is now barley visible. The light reflects of Irene's blonde hair and glares in the drivers eyes, which shows us that the driver is literally blinded by his love for Irene, and now realises the danger he has put her in. A light directly above them shines brightly, as the light is directly above them it hides there faces in shadows, creating a silhouette of the two, Irene and the driver embrace eachother, the scenes fram rate drops resulting in the kiss looking as though it is in slow motion, which only adds to the tension of the scene, as we all know that the hitman set to kill the driver is literally centermetres away. As the two break the kiss the scene returns to its original frame rate, the light in returns to normal, if not a little darker then before. Which could be showing us that right now in this second, the driver has lost all chance of ever having a normal life, with the intense light not seconds earlier representing the closest he has or ever will get to a normal life. 

What follows is the films most violent and brutal act committed by the driver, that man pulls out a gun and aims at the driver, the driver heads butts him, pushes him to the floor, and begins to stamp on his head until he stops moving, the driver throughout the film is always seen as being presentable, his clothes and hair are always clean and tidy, he is well mannered and polite, if a little silent. However during this shot, his hair falls limp across his face, his face becomes sweaty and red, and the collar on his jacket goes crooked. All of this gives us the impression that he has finally lost control, the lighting during this beat down becomes lighter and lighter, eventually reflecting of the blood on the drivers jacket and face. The driver looks up and at Irene, she is horrified and is visibly shaking, her shirt, similar to the drivers jacket has now become crooked, this could be to show that this event has left her traumatised and broken, a binary opposition to the drivers almost cool, calm atmosphere. The elevator doors slide open, again stopping around halfway before fully opening to reveal the car park. The car park is empty, with only two huge neon white lights on the walls of the car park. The result makes the area look eerie and unsettling, almost dangerous. Irene backs away into the car park, terrified and scared, she looks at the driver with terror, and the driver looks at Irene with almost acceptance and content. The doors slide shut, and we get a cut to the drivers face, sweaty and covered with blood, he sinks to the floor as a defeated and broken man. 

If we look at the colour scheme for this scene, we can notice a common trend in the way colour is used. Irene and the driver (the two "heroes") are dressed in whites and lighter colours, very monotone and basic, which could be a representing of how they are both trying to blend into the crowd, with neither one of them wanting any part in the colour full, violent world of crime. And if we were to look at the hitman, his suit is consisted of neon and violent colours such as pinks and tinted whites. Again showing the stark contrast against Irene and the driver. The city of LA (which drive is set in) is also drenched in colour, especially neon blues and reds, which is very similar to the neon drenched city of Shanghai in Nicholas winding refn's film only God forgives. 

In conclusion the scene uses a combination of bright, out of place lighting and a dark, basic colour palette contrasted against a brighter more violent colour palette to create tension.

 M