Ridley Scott is who I chose because he has produced and directed a range of very successful films in multiple genres and has made a remarkable impact on the film industry. He has directed as many as 22 films to date and produced more than 45 films in his film career so far. I believe he has proven himself a force to be reckoned with in the film industry. While he has at times received criticism for some of his films, he has also been declared as one of the best in the film industry. Scott has directed a number of films that where seen as flops but he has also had far more films that have been a phenomenal success. I will look at some styles, techniques and film making practices used by Scott accompanied by achievements, critical acclaim and …show more content…
I have watched more than a dozen of his …show more content…
While putting a light in the background can be good for making silhouettes it also can cause your subject to be underexposed. (lightsfilmschool.com n.d.) Backlighting is used extensively in Blade Runner. With the making of Blade Runner the lighting technique that was used is of a foreground that had an uplight that was warm and soft also incorporating a backlight that was really bright gave it a distinctive lighting style. With the leading lady who played Rachel a hard backlight was used to light up the neck while her face was lit by a soft front light. (theasc.com n.d.). Ridley Scott has proven to be a master of contrast and chiaroscuro in his work. There are times in life when we need to be creative and think out of the box and there is no exception to the rule when it comes to film making. Being creative helps solve issues of replicating or simulating lighting effects that might be seen in everyday life. Scott has proven with his cinematography and, more specifically, aptitude for lighting and composition to be a powerhouse within the
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
Philip K. Dick is one of the more prolific science fiction writers of the second half of the 20th century. His dark plots, themes, and characterizations differ greatly from those who preceded him. This has seemingly translated well onto the big screen, as at last count, nearly ten of his novels and short stories have been adapted into films. Several of these films have garnered critical acclaim for both their movie credentials and use of source material. Blade Runner, originally released in 1982 and based off a 1968 novel entitled Do Androids Dream of Electric Sheep? along with A Scanner Darkly, a 2006 film based off a book of the same name released in 1977, are two such examples. They provide an excellent base to compare the adaptations in terms of visual style, plot authenticity, and characterization. Both movies took alternate routes, yet both were very well received, though one’s financial success is far greater than the other.
Mise-en-scène, what the audience sees in a film, is crucial to the movie’s development. Lighting and props are two of the many important aspects of this category. The previously mentioned scene has the goal of representing Kane’s early ideology of what the New York Daily Inquirer will become and provide for its readers. While writing the document, Welles constantly uses lighting to illuminate it for the audience, naturally drawing eyes to the paper even before it is introduced in the film. The lighting of the scene helps viewers identify the document’s value, especially in comparison to Kane as he tends to be less lit then the paper for the majority of scene. The other three cast members, Leland, Bernstein and briefly Sully, continue to be lit but almost never to the magnitude of the paper itself. The first cut of the scene shows Kane writing the document from outside; where a burning gas lamp is the key lighting, allowing the audience to easily notice both the flame and the paper. In the following cut, Kane continually looks at the paper and the gas flame as to signify their imp...
Tim Burton, in Edward Scissorhands, uses high key and low key lighting. For example, Peg’s town is flooded with high key lighting in order to make the outside seem joyful and peaceful. The outside may look cheery and bring, but most of the people living there were not the most pleasant people. The women gossip and create rumors; the men are rude and conceited. He used low key lighting in order to make the audience feel anxious about the upcoming events. An example would be when Peg walked up to the top floor of the mansion and noticed that someone was sitting in the corner. Edward’s shadow may have given him a frightening appearance, as he is a ‘man’ with scissors for hands. But Edward was a kind and caring gentleman. In conclusion, he used reverse lighting to add an irreplaceable, distinctive quality to his movies.
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
It is true because most of the film noir greatly influenced by the German expressionism style, where most of the scenes are shot in night time, uses of extreme artificial lighting in film, chiaroscuro lighting creates the high contrast lighting to produce the focus points, deep shadows and obscured scene such as rain to highlight the confused emotions of the character in films. According to Jerold J. Abrams (2007), he mentioned that the evolution of film noir, Neo noir have been formed after classic noir, while neo noir is certainly new but some things never change. In this statement, although neo noir are formed after classic noir, but the techniques of film noir in classic noir are still retained and continue to be used in Neo noir
First and foremost, film noir refers to the visual style of a picture. The imagery of film noir was influenced by early 20th century German expressionism, featuring distorted, sinister shapes and shadows. These precursors to film noir used abstract figures and looming shadows for bizarre, emotionally stirring results. Techniques such as chiaroscuro were used to give a dark and minimalistic feeling. In many cases lighting is limited to a single harsh light source, which obscures the image, and even throws shadows across actors’ faces. These elements ensure that an audience regards the actors and the setting with equal importance. Oblique angled shots permeate many film noirs, naturally provoking anxiousness and apprehension in the viewer. In Sun...
Ridley Scott’s Blade Runner is now one of the top sci-fi movies and a perfect standard of the neo-noir genre. The visual Los Angeles is an astonishing sight and immense in detail. The action on an extensive proportion is truly ingenious. Ridley Scott is a substantial director in film history who doesn’t hold back in his movies. Blade Runner is a very exciting sci-fi film noir combination with a suspenseful and tense story that runs so deep in its conflict has led to cults. Overall, Blade Runner is a movie that will keep on your toes and force you to think about your humanity in an interesting yet confusing way.
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
I am writing about the use of lighting in the opening scene of The Godfather, (1). The
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
the room. Light can really add a element to your scene . In this scene kubrick did a lot to add to
Directors use various techniques to create a compelling and memorable motion picture film for the audience. In 1982`s Blade Runner, Ridley Scott portrays various themes of mortality, memory and identity through various film techniques such as editing, cinematography, and mise-en-scène.
All throughout The Maltese Falcon the camera angles change with the character. Camera angles and lighting affected the mood of the scene; scenes in which contained more mystery had additional shade and distortion of the lenses and hard lighting to create ominous shadows, among the characters. By creating depth in the scene and tilting the camera angle so that images were portrait, gave the impression of more events were taking place then actually were. Lighting was abnormal with neon lighting in the background and dull lamp light in the foreground, which in turn created it unable to get a clear picture of the situation. As well as background and foreground lighting, there was lighting that would only highlight specific objects, such as the Maltese Falcon, when it was being unwrapped. In some scenes camera angle would be slightly higher than the characters or shown through the characters eyes, the lighting would be underneath the character, not allowing the audience to see their full facial expressions. Lighting and camera angles played a huge role in creating the mystery in Film Noir.
He made his first long film, ‘Following’ in 1998 which is a black and white film. He served as director, producer and writer of the movie. His non-linear story telling in this movie helped him to gain interest from other people in the business and propelled him to his next film ‘Memento’ Released in 2000. ‘Memento’ was a critical success and this was b...