Crazy love presentation

CRAZY LOVE

AS FOUNDATION PORTFOLIO EVALUATION �

By�

RUFUS WILLIAMS & KATIE WYMAN�

[1] In what ways does your media product use, develop or challenge forms and conven;ons of real media products?

•  Conventionally: • Our research has led us to understand that Rom Coms conven3onally have a narra3ve that involves a ‘boy meets girl’

situa3on. It is conven3onal in the opening of films to introduce characters and or narra3ve contexts. .::Scenarios::.

Plot 1: The two hit it off in the start (later figh3ng, breaking up and quickly making up) Plot 2: The two don’t get along, and the dura3on of the film is spent geIng the two together.

Plot 3: We spend our 3me seeing how lonely the boy and/or girl is, trus3ng that they will find each other.

The Rom Com:

Plot (1) Plot (2) Plot (3)

Conven3onal Costume Out character’s costume was developed to give a clear idea of the genre of

the film, and his personality. As there is no dialogue, the protagonist’s costume gives an indica3on of his personality.

Costumes from the feature film: �Juno

Costumes from the feature film: �Submarine

Costumes from the feature film: �Scott Pilgrim

Vs. the World

Costumes from the feature film: �The Inbetweeners Movie

Costumes from Our film: �Crazy Love


How our opening sequence uses forms and conventions

In our opening two minutes the audience is led to believe that the protagonist is going to meet someone. Shown through the bright flowers he is carrying, we

assume they are for a girl, and that he is on his way to a date.

We try to show that our character is no3cing the couples around him. Having the camera focus on the couples, they become obvious to the audience.

(e.g. at the cross walk).

Here we are crea3ng an enigma, which is conven3onal for an opening 3tle sequence.


•Titles•

Colour: White [Why] For Clarity, Modern style, and because research shows us that a-‐ majority of Rom Coms use white 3tles, making it conven3onal.

Font: Futura [Why] We used this font because it was bold, clear against the frames, and resembled a modern ‘rom com’ look.

Flow: Clear and Concise. [Why] Titles moved across the screen in an enthusias3c and ‘fun’ way. Pulled forward by a van at the crosswalk, or hovering over the wood frame of a bench. The purpose of this was to let the audience know that they are watching a lighthearted film, and despite our character being a lonely figure, that he has beXer things in store for him.

We aimed to make the titles conventional for a rom com film, rather then unconventional.

Ultimately, we felt that this was successful.


•  Soundtrack: The song we used was 3tled, ‘Hungover Boxing Day‘ by ‘The Gasoline Brothers’

We downloaded the composi3on from: www.freemusicarchive.com

Free music Archive displays songs free of copyright.�A useful source for finding non-diegetic soundtrack pieces.

We found the song to be conven3onal for our film because it didn’t sound harsh, or violent. Instead sounding cheerful, moving and appropriate for a typical rom com.

Similar rom-‐com tracks: All I want is you – Juno (OST)


•  Con3nuity edi3ng: We use a variety of mach shots, to show different angles of our character walking home.

• Variety of shot sizes :

The inten3on of this is to keep the audience interested, and to give them a full view from every angle of our protagonist. Let them see the clothes he wears, the way he walks and really get to know him despite his lack of dialogue. Front Back

Wide Shot/Establishing Shot Medium Shot/Two Shot Close-up

We decided that a variety of shots was essen3al for our opening sequence because it allowed the audience to see the loca3on (City), thus allowing the audience to establish were they are in the world of the film (London, England) through the use of establishing-‐ shots to show the unique English roads, and pale sky. The audience takes in our characters’ surroundings, as well as slowly geIng used to him. Various mid and close-‐up shots introduce us to his warm smile.

Filmic Conven3ons:

•  Con3nuity/Invisible edi3ng:


•  Character and loca3on introduc3on: During our opening two minutes the audience sees the hustle and bustle of a typical London street. We found it crucial to incorporate this into our opening two minutes to create a conven3onal rom com city seIng.

Our scene takes place in the less glamorous side of London, in Belsize Park. It may not be a high street but the area of Camden is fairly well known, and holds a lot of modern London culture.

– Se4ng and Loca8on –

Google maps views of area


•  Building Enigma: We create a sense of enigma with the daffodils the protagonist is holding. Ideally, the audience should be asking themselves:

“Who are they for?” “Is he on his way to see a girl?”

~The Twist~ This mystery builds up to the point when he arrives at a rather lonely home, where we find out that the flowers were never for anyone, but instead for himself.

Our opening sequence intended to introduce character and narra3ve.

Character, is introduced through following our protagonist to his home.

Narrative, is introduced when we find that our character has no current love interest. We trust that he will find a partner later in the story, but for now the audience has developed a fondness and sympathy for the protagonist.


•  How we challenge what is expected •

eventually through his walk home our happy-‐go-‐lucky character arrives at what appears to be a rather lonely, dismal apartment, filling up his own vase with the flowers we thought were for a girl.

and siIng down to watch TV, (Showing that he is most likely not expec3ng anyone, and is single).

•  At the same 3me the audience experience the type of city that the film has taken place in (being the less glamorous side of London).

SeIng and Loca3on -‐ The film itself was set in London and shot in Belsize Park. The area includes busy roads and streets that are not overcrowded. The city scene is a typical seIng for a rom com. Examples of this being

[2] How does your media product represent par;cular social groups?

Our media product represents the Bri3sh Youth. (Teenagers) Our movie is a teen-‐rom com, and aXempts to represent the youth as independent, approachable and simply looking for a rela3onship.

Which would be the opposite to the representa3on in ‘Skins’ of the rebellious and drug abusing teenager.

[2] How does your media product represent par;cular social groups?

A film like this could be compared to popular films such as: '10 things I hate about you', 'the breakfast club’, ‘High School Musical’, etc...

The main difference about ‘Crazy Love’ is that our seIng is within the UK, making it appealing to specifically Bri3sh

teenagers.

[3] What kind of media ins;tu;ons might distribute your media product and why?

‘Crazy Love’ would ideally be scouted out by, and funded by Bri3sh film companies such as:

Which have each produced successful rom com films.

Then again, with its low budget it could also be independently produced and released in some of the many digital cinemas, rather then the typical film cinemas which are encouraged to show at least one Bri3sh produced film a year.

This would make it possible to direct funding to advertising and production..

[4] Who would be the audience for your media product?

Primarily: -‐ Bri3sh youth and -‐ Bri3sh parents with teenagers.

This would aim our film at the two major cinema-active social groups:�

The family group, and the average 13-17 year old.�Most likely it would appeal to a female audience rather than a male audience. �

Above all, it would appeal to a rom-‐com audience

[5] How did you aAract/address your audience?

.::Teenage Audience::.

.::Adult Audience::.

~*~

~*~

[6] What have you learnt about technologies for the process of construc;ng this product?

Rufus Williams Katie Wyman (3) Tripod: [Ka3e] (1) Live Type: [Rufus]

(2) Final Cut Pro: [Ka3e and Rufus]

(5) Camera: [Ka3e and Rufus]

(4) Boom Mic: [Rufus]

(6) Free Music Archive: [Ka3e]

[7] Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

•  Equipment •  Technology •  Titles •  Soundtrack

[Rufus]:

^ Shaky camera example ^


• Preliminary Task Full •

[Rufus]:


•  Edi3ng •  Script wri3ng •  Loca3on •  Mise-‐en-‐scene •  Timing

•  Oragnisa3on

[Katie]:


• Preliminary Task Full •

[Katie]:

Education

Crazy love presentation