Script

1.  INT. MANSION – NIGHT.

   The blue, beaten back door swings back slamming, before reopening as the lock has been snapped.  The bright light from the living room can be seen from outside with the dark figure scavenging through the set of drawers.  As the owner and companions walk in making a noise, causing an outburst of emergency as the figure grabs the stolen goods before urgently making an exit through the open back door.

2.  EXT & INT. ABANDONED BARN – NIGHT.

   Breathing heavily, the figure finds cover inside an abandoned barn not far from the house.  Checking the items he has stolen, making sure there in tact before placing them back into his bag.  Working out how to get to the getaway car.  After mistakenly running the wrong way increasing the chance of being caught.  The bright light from the moon gives off enough light to show that people can be seen, through a small gap in the door, walking towards the barn.  Knowing being caught is not an option he makes a run for it, through an extremely tight squeeze around the back on the barn making sure he is not seen, and does not stop running towards the dark forest.     

3.  EXT. FOREST – NIGHT.

   Without stopping the darkened figure explodes into the forest, barging through the branches and bushes.  Panting heavily whilst constantly looking behind, reaching for his pistol for protection, carrying on walking through the forest.

4.  INT. GETAWAY CAR ON AN EMPTY QUIET ROAD – NIGHT.

   Three Italian mob members waiting outside the car, dressed smartly in black suits long coats, one wearing a black hat and the other two smoking Cuban cigars with jet-black hair.  With the head of the mob waiting inside the car, wearing a black suit and black tie, checking his bulky golden pocket watch. 

MOB BOSS

(Murmuring to himself angrily)

Where is he!

    

5. INT. MANSION – NIGHT.

   A large group gather round a large circular table back at the broken in Mansion.  Knowing who it was that broke in.

   They begin to set out revenge with the head, Leonardo also known as fingers giving out orders. 

FINGERS

(Angrily instructing the group)

   They took money, guns and jewellery and we know who they are, they must pay.  Get your guns!

   Fingers then slams his hands on the table before viciously standing up, pushing his chair backwards, then walking out of the room.  Leaving everyone around the table in an awkward silence.

6. EXT. TOP OF A HILL EDGE OF FOREST – NIGHT.

   The dark figure walks along the top of the hill sluggishly as his legs are tired.  He sits down on a rock and starts to drag a stick along the ground. Realising the ground is soft, easy to dig a hole.  He looks around before beginning to dig up a hole like a dog.  Wiping sweat from his head he looks over towards the bag and pauses for a few seconds before reaching for it and placing it into the hole.  Looking around again then refilling the hole back in.  He then stands up and pulls his white shirt over his face to clean it then becoming very dirty. Then begins to gather a group of small rocks creating a pile over where he has buried the bag.  He stares at the pile and then walks towards the edge of the hill where bright lights are seen at the bottom of the hill on the long quiet road.

7. EXT. CAR AT THE BOTTOM OF THE HILL – NIGHT.

   Casually looking around the three men turn towards the hill where a dark figure can be seen walking down.  The three men reach for there guns and quickly begin to walk towards the figure.  The light from the car allows the figure to see the three men approaching him with guns and urgently reacts.

FIGURE

(Shouting)

It’s me! It’s me, Carlo!

   The three men put down there guns and turn around back towards the car.  One man taps on the window, to the boss

MEMBER

(Annoyed)

He’s back

BOSS

(Begins to laugh)

   The three men then get back into the car and wait for Carlo to get in.

8. INT. INSIDE THE CAR – NIGHT.

   Carlo opens the door to an awkward silence sits down, slumps his head back, heavily breaths out and closes the door.  No one says anything for about 20 seconds, just a bit fidgety and a few coughs.

BOSS

(Sarcastically)

So, Carlo.  Why is your face so dirty?  What have you been doing?

CARLO

It didn’t go to plan boss

BOSS

(Loudly)

Could I see the goods?

CARLO

(Anxiously)

I don’t have them

BOSS

(Angrily)

WHAT!

   The driver then pulls off putting his headlights on full beam brightening up the dark empty road.

9. INT. BOSSES HOUSE – NIGHT.

   The car drives through the brightly lit streets full of late night bars with people standing outside and neon lights booming from windows.  The car then pulls up onto a driveway.  Carlo and the boss both walk through the door together.

BOSS

(Confused)

Wait so you buried them in the forest?

CARLO

(Pauses)

Yes

   The boss then slumps into his chair then stands back up before slumping back down, two men stand behind his chair with the other one standing by the front door.  The boss uses eye contact and head movement to tell Carlo to sit opposite him on the table.  Carlo then slowly sits down and waits for the boss to say something.  The boss stands up again, pours a glass of liquor, and puts his hands on the table and stares at Carlo.

BOSS

(Gritting his teeth)

You’re going to go and find them.  Now!

   The boss stays sitting around the table as the four men begin to leave.  One of the men open the door and the four of them including Carlo walk out towards the car, leaving the boss.  As the door closes the boss stays sitting calmly for 20 seconds.  Before releasing his anger by shouting, tipping his chair then throwing his glass against the wall where it smashes and leaves a wet stain on the wall.  The four men can hear him shouting from inside the car as the all act as if they haven’t heard him before driving off.  They pull out of the drive and turn left, on the right over the other side of the road a car with three men is waiting.  They wait until Carlo and the others make a turn then they begin to follow discreetly.

10. INT. INSIDE THE CAR – NIGHT.

   Carlo sitting in the back seat looks behind and notices lights from a car behind whilst on the road near the hill.  Before the road was empty making Carlo curious about the car behind them especially at this time.  The car is a few paces behind them but the road is long and straight so there is nowhere for them to go.

11. INT. BOSS’S HOUSE – NIGHT.

   The boss is sitting around the table quietly in his big chair.  More relaxed than before, just starring at the wall, still sense anger within him.

12. EXT. BOTTOM OF THE HILL – NIGHT.

   The car pulls over, just on the side of the road with one half of the car on the road and the other on the gravel at the side.  Carlo gets out first and looks up towards the hill then turns back and looks at the three men in the car.  They then get out the car too and walk round standing next to Carlo, the three men all hold the guns in there jackets.  The lights still left on the car, as it is pitch black.  Carlo then looks behind to see if the car is still behind them but cannot see the lights as he slowly walks back down the road where the car should be coming from.  But sees nothing.  Turns back and walk back towards the car and gets ready to walk up the hill.

13. EXT. FURTHER DOWN THE ROAD – NIGHT.

   The car that was following is shown pulled up on the side of the road with its lights off and the men inside are now walking off the road in the direction of Carlo.  They cannot be seen because of the dark and they’ve allowed themselves time as Carlo now believes the car that was behind them was not following them.  The three men walk the outskirt of the forest around towards Where Carlo’s car is.  The light from the car helps guide them.  All have pistols and can be seen holding them as they walk.  As they keep getting nearer one of them trips over a low hanging branch causing a sudden outburst of noise as the three then freeze where they are in case of being seen.

14. EXT. BACK TO CARLO- NIGHT.

   

   Carlo and the fellow three men look over to where the noise was and all stay still and quiet starring towards that area.  After 30 seconds Carlo begins to walk over to the hill. 

DRIVER

Come on now, just go and get it.

   Without thinking he starts to walk up the hill, after being urged to, he is unequipped without a gun and thinks nothing more of it.  He uses some trees to help pull him up the hill as some parts have loose ground making his feet slip.  When Carlo reaches the top and disappears into the forest, without him knowing, the three members he was with follow him up the hill.  Leaving the car at the side of the road with the lights still on.

15. EXT. MIDWAY UP THE HILL – NIGHT.

   The three members from the other gang are midway up the hill about 50 meters away from Carlo.  They are also slipping due to the lose service but manage to scramble to the top without making too much noise.  They then begin to walk to the left leading them to where Carlo is.  From here they then quietly walk taking cover behind trees once they first see Carlo, who is walking towards the pile of rock.  They then begin to approach Carlo, who is moving the rocks away from the hole where the goods are buried.  They then slowly pull out their pistols whilst slowly walking towards him.

16. EXT. IN THE FOREST – NIGHT.

   Carlo then begins to quickly shovel the dirt away from the hole using his hands finally seeing the top of the bag, which he pulls out from the remaining dirt.  Suddenly an extremely close gunshot goes of as Carlo urgently dives across the ground.  Before turning around to look who is there.  As he turns round he sees three of the rival gang standing off with his three men, who have just emerged through the trees.  It then quickly turns into a stand off whilst Carlo is still lying on the ground.  One gunshot goes off again before more follow as all are now shooting towards one and other.

ONE OF CARLO’S MEN

(Shouting)

Run Carlo!

   Carlo then begins to run, with the stolen goods, further into the forest away from the gunfire keeps looking behind him an almost stumbling as he sees bodies falling and shots still being fired.

Meshes of the Afternoon

In Meshes of the Afternoon by Maya Deren the woman is shown having a dream showing her having split thoughts by being suicidal, depressed and locked up.  This is shown with the constant show of the knife which represents her suicidal thoughts.  The knife keeps cropping up in her dream as it is shown when she pulls back the bed covers and when the key turns into the knife.  This shows she is constantly thinking about suicide or death with the constant reminder.  The key also has a strong impact as it shows she is locked in the dream and cant seem to escape.  The door is locked and her dream begins inside so the key held here thoughts and may of been the reason the key fell all the way down the steps to stop her from going inside

exam practice question

What is the importance of mise-en-scene and/or sound in creating meaning and generating response in the films you have studied?

Mise en scene and sound are important in both City of God and Chungking express as they both create a lot of meaning and purpose.  In the City of God the fact that the people living in the favela are trapped, which is a common use of mise en scene, which is shown with caged up chickens.  All the chickens are caged up all together, unable to escape, which represents the the locals as being trapped.  One chicken that does escape represents Rocket who manages to reject the life of crime and live his own life escaping the favelas.  This shows that Rocket had his mind on something else and wanted to get it.  This is like in Chungking Express as Faye manages to escape Hong Kong by becoming a air hostess

Princesas

The opening scene of Princesas uses a hand held camera when Caye is walking into the hospital.  This gives a sense of realism and is similitude as it shows how this is what happens in real life in Spain.  This allows the audience to understand reality in Spain as prostitution happens a lot in Spain due to its high unemployment and immigration problem.

Once into the Hospital room Caye is shown as a powerful woman who is in control.  She lays down the rules to the men inside the hospital room.  This is not carried on throughout the film as she is found to lose her power in the bathroom scene.  Here she is forced by a male for sexual reasons, even when she was refusing.  This shows here power has been taken and males continue to dominate females.  Caye does not want to do this at this point, even tho its here job, she does not want to do it behind Manuel's back.  This shows she has feelings for him but gets controlled by a more dominant male.  Showing that no matter what males still dominate females.  This is the same for most of the females in this film and is the main reason why Caye and Zulema form a friendship as they are able to talk about it and help each other out.  This shows the difference between males and females within the films we have watched.  As in the other films males are not able to talk about there problems and use violence to sort a lot of their problems out.

Presentation Script

Does the specific style of violence make Quentin Tarantino an auteur?

Quentin Tarantino is a successful American director known for films such as Kill Bill, Django and Hateful Eight.  His style of violence separates him from other directors as he uses a strong, visual amount of violence which makes his films original and unique as no others use this kind of style of strong violence.  Which some say is over the top and question whether it is necessary, which was said about the Hateful Eight  (Item 3) claiming that the violence in this film was not needed to the extent Tarantino used it.  (Item 7)

But i disagree with this and agree with how Tarantino defends himself, as his violence gives people a sense of reality and how it was like years ago, it also adds narrative to the story in the way he uses it.  The violence shows how it would of been which gives the storyline some realism, making you think about how it actually was.  This is related to a lot of his films as he uses violence for a reason and not just as an effect. As in all his films he uses the same techniques and themes which is his signature.  Themes which include a lot of racism and cinematic techniques like the use of long shots and tracking shots.   Without the violence the audience would not feel anything which would make the film pointless and the main purpose of making a film is to be seen by an audience.  By claiming The Hateful Eight's violence is not needed this takes away the purpose of the film as it is there to show what is what like and create a sense of realism.  But it shows that a lot of people don't care about this as The Hateful Eight was the highest grossing film in USA.  Not just this film but most of his film are a big hit all around the world and his style could be the reason why people enjoy the film.  With many of his films being ranked in the top 10 at box office including Hateful Eight (Item 3), Kill Bill Vol.1(Item 2), Vol 2, Pulp Fiction and Reservoir Dogs.  With Inglourious Basterds getting 438 million and Django Unchained (Item 1) getting $30 million with a lifetime gross of $162 million.  All theses film include high levels of violence which shows that it works as the all have large box office ranks and rake in the money.

Samuel Jackson Interview on deadline.com (Item 10) - Projector

Actors of his film agree with the techniques he uses this to attract bigger audience which creates the bigger film, giving it a good name.  Samuel L. Jackson expresses this in an interview in where he goes into detail about Tarantino, Django and slavery (Item 10).  With Jackson explaining that Tarantino and his use of slavery and his techniques he uses in his films are the way to bigger audiences so people like working with hime even if he does have an unusual take on his films.  In Django a lot of techniques used were what would have really happened all them years ago.  This includes the beating down of slaves and the shooting of Indians.  The way Samuel Jackson talks of Tarantino, it shows he is a big fan of his work and the use of violence, that may put some members of the audience off, doesn't put him off from working with him.

In a popular Tarantino film, Django, the violence clearly shows how he is different from the others. (Item 1)  With his violence easily noticeable throughout.  Some of the violence includes severe whipping, being eaten by dogs and the visual of people being forced to fight to the death.  The use of violence in this film is graphic and this kind of violence is continued throughout all of his films.

Other examples of violence he uses in his films include the plucking of eyeballs, torture, hangings and slicing of humans.

A lot of his earlier films do not contain the high amount of violence but this has increased throughout time, in which he has adapted.  An early film of Tarantino, Jackie Brown, which was made in 1997 (Item 15) contains a low level of violence and racism which is not his usual type of film, with only 4 deaths throughout.  Which shows throughout time his films have changed (Item 8) as he has worked at creating his own style and for years now he has continued to use his style which is original and is what makes him an auteur.  A later film of Kill Bill Vol 1 which was made in 2003 (Item 2) contained 63 deaths and included a lot of blood thirsty killings and scenes which show his style which has been carried on after this film.  Hateful Eight is also a good example to show the high use of violence that Tarantino has used in his more recent films, made in 2015, it contains 49 acts of brutal violence (Item 3).  This can be due to the amount of money the film has to work with, as killings cost a lot more so more money will be needed.  In his earlier films less money was there but after his success more money will have been offered to him leading to his more visual scenes.  This can be a reason into the high increase of violence in his film.  An example of this is Reservoir Dogs, which cost around $2 million and contained just 10 deaths.  Whereas Kill Bill: Vol.1 cost around $30 million and contained 63 deaths and many violence scenes.

Tarantino interview on Chanel 4 (Item 11) - Projector

In the interview Tarantino is shown to get angry with the constant question on the use of violence and you can see he angrily has to explain himself every time.  (Item 11) Being forced to explain it is not real life as many see his violence as extreme.  Even tho he has been explaining this for the past twenty years.  This started when the interview made a reference to his films and real life violence asking whether there is a connection between them.  This angered Tarantino as he is angry about being asked questions he has already been asked.  All the interview was meant to be is a commercial to promote Django (Item 1) but Tarantino felt went off topic in which he threatened to walk out of the interview.  This interview shows the impact, his style of violence has on his viewers.  As it was not the first time the question had been asked and it wont be the last time.  This shows his style is completely different to anyone else's making him stand out from the others.  No other director gets as much attention towards there violence as Tarantino does.  Clearly showing his violence is completely different to any other director making it his own.

Chungking Express

In the opening scene the use of smudge motion is used which speeds the time but shows the focus characters in slower than everything around them.  In this opening scene  a hand held camera is used which is a common use of mise-en-scene as this gives the feel of reality and the camera shot makes it as if you are actually apart of the hectic environment.  The lighting is dark which is a common use of mise-en-scene as it is shown in a busy city at night.  As Hong Kong never really sleeps as there is always something going on in the urban area.  This shows they stop in time whilst everyone else is carrying on with life.  It shows that life in Hong Kong is hectic and busy and if your stuck in the past you can not move forward with the speed of Hong Kong.  This is shown as the cop number 223 is stuck in the past about his ex girlfriend.  And he cant move on from it, leaving him behind.  And unless he moves forward, no one is going to stop and wait for him.

This shows that the time goes fast in Hong Kong and time is a factor in the film as it represents the amount of time the people are waiting before Hong Kong is handed back to China.  Time is represented a lot through the film.  An example of this would be the pineapple tins with the dates on.  the date in the pineapple tins are shown as the camera zooms in on the date which shows 1st May 1994.  Also the name of the cops ex girlfriend is called May which is also time based.  This shows that you will be forgotten about if you do not move forward as his ex girlfriend has moved on, no longer thinking of him which is shown when the meet in a shop and she gets on a motorbike with another man.

 

City of God

The use of closer in the film is shown firstly with the use of the trapped chickens, representing to people in the favelas as they are trapped and cannot get out of the cage.  The cage being the life style they have, gangs, and not being able to get out of it.  This is shot with a hand held camera which creates a documentary style to it which can make it look real life   The one chicken that does get out represents Rocket, who manages to reject crime as a way of life and uses it to get further in his career and does not get sucked into the life of crime.  The chicken manages to get lose and run away eventually being able to escape and does not get caught.  This is the same as Rocket has lived around crime and could not even get into the life of crime.  As he failed to pull out a gun on someone showing he was never going to be able to get into that lifestyle.
 Towards the end his knowledge of the favelas and access to the gangs allows him to further his career due to this as he is able to get money from pictures he takes of the gang.  Without his knowledge and background he would not of been able to get these pictures which allowed him to escape.

Mise en scene is used when steak and fries is first asked out by Lil'ze and they are shown through metal bars representing them being trapped and caged up just like the chickens being trapped.  Because of Steak and fries' first choice this traps him into the gang.  His choice traps him in the gang and he cannot get out of it which shows that if you make the wrong choice then there may not be an option after that which results in them being trapped.  This then carries on just shortly after when Steak has been told to shoot one of the runts.  This is a kill or be killed basis and if he did not kill the runt then he would of been killed.   In the scene the gun is shown in the middle of the two so it shows it is the centre of attention and important in the scene.  When in Lil'ze's point of view the angle is high as he is more powerful than the runts and when in the runts point, they are low angles which shows they are looking up to Lil'ze and he has the power.  Here a choice does not matter as a choice given to the runts does not mean anything.  Lil'ze does the opposite to what the runt says when asked whether he wants to be shot in the hand or foot.
The runts are shown sitting in a pig sty which shows animalistic characteristics as they are treated like cattle and sitting in dirt.