Titles -
In "Se7en" the font was tailored and made for the film and nothing else. The effort that the art design producers put into the title sequence is obvious, with raw, scruffy & white scar-like font clearly visible against it's jet black backdrop. The titles lurched in timing with the soundtrack, creating an effect of unease. In complete contrast, "Apocalpyse Now" has absolutely no special fonts, or tension created by titles, because their are none! This was a purposeful move, said Coppola, to make the on - screen events appear more realistic, and in turn affect the audience greater. This influenced the titles for our film, as we have decided to use a striking font against a black blackround - in similar fashion to "Se7en". We will use a red, bold and complex style of font against a black curtain, however, as it relates to our presentation of our central protaginist much like Cooper does for John Doe in "Se7en"'s titles.
Music -
The soundtrack for 'Se7en' fits the film, and it's genre perfectly. The screeching ambient non diegetic sounds remixed to the Nine Inch Nails track 'Closer', reflect the chaotic nature of John Doe. The use of a musical score in the title sequence of a psychological horror is common in the film industry, as in Physco - where the score provides a building tension through the progressively louder orchestra. http://www.youtube.com/watch?v=Tek8QmKRODw
"Apocalypse now" uses a track titled 'The end' by The Doors. We wish to emulate this unique, unconventional type of music in our titles, as it creates a feeling of confusion amongst the audience. For example, we will be using a classical diegetic score from an on-set record player. Possibly 'Swan Lake' by Tchaikovsky.
Character -
We decided to twist the elements governing both of these title sequences, and we will probably reveal the protaganists identity only towards the end, with it being hidden before-hand. We chose this because it brings the better elements for our genre out of the two contrasting ideas.
Mise en scene -
Again, a huge contrast can be drawn between the two titles sequences, with "Apocalpyse Now" containing huge explosions on-set with mutiple, expensive props such as helicopters.
However, in "Se7en" the on-stage props are minmial, and all represent something of the character, which in that film's case is 'John Doe'. For exaample, diaries and books are seen - connoting intelligence and articulation, which are juxtapositoned with disgusting images which distort the viewers opinion. Our character is established through a mix of both - yet we are restricted in both the quality of props for "Se7en" and the funds for those in "Apocalypse Now".
Narrative Code -
Our narrative code is based upon a quick succession of close ups to increase drama and tension, but also long takes to let the viewer understand the context of the titles. Both of these elements are in both film's title sequences. "Apocalypse Now" includes a long track in a right direction. This is to allow the audience the ability to 'absorb' the film's surroundings. However, in "Se7en" the idea of fast, rapid succession of slides through editing later, creates a intro sequence of uncertainity and insecurity. As a normal image such as an identity-disguised photograph distorts into something else entirely, creating unease in the viewer.
Overall, both film title sequence's provide a great deal of generic expectations, which serve to both fulfill narrative expectations from the reader, but also serves to disturb and shock - usual occurances in titles. Many ideas have been gained to be placed into our own film from the detailed analysis I carried out on both, and many ideas mentioned here will most likely put across into the final production.
"Apocalypse now" uses a track titled 'The end' by The Doors. We wish to emulate this unique, unconventional type of music in our titles, as it creates a feeling of confusion amongst the audience. For example, we will be using a classical diegetic score from an on-set record player. Possibly 'Swan Lake' by Tchaikovsky.
Character -
The character of 'John Doe' is barely presented in the Title sequence of 'Se7en', even though he is the central protaginst of the clip. No physical features are revealed, apart from a hand twisting
mysterious instruments, which create a sense of intrigue and mystery. In "Apocalypse Now", however, an important male character is projected in the left third throughout the majority of the sequence, to highlight his importance for the following film.
mysterious instruments, which create a sense of intrigue and mystery. In "Apocalypse Now", however, an important male character is projected in the left third throughout the majority of the sequence, to highlight his importance for the following film.
We decided to twist the elements governing both of these title sequences, and we will probably reveal the protaganists identity only towards the end, with it being hidden before-hand. We chose this because it brings the better elements for our genre out of the two contrasting ideas.
Mise en scene -
Again, a huge contrast can be drawn between the two titles sequences, with "Apocalpyse Now" containing huge explosions on-set with mutiple, expensive props such as helicopters.
However, in "Se7en" the on-stage props are minmial, and all represent something of the character, which in that film's case is 'John Doe'. For exaample, diaries and books are seen - connoting intelligence and articulation, which are juxtapositoned with disgusting images which distort the viewers opinion. Our character is established through a mix of both - yet we are restricted in both the quality of props for "Se7en" and the funds for those in "Apocalypse Now".
Narrative Code -
Our narrative code is based upon a quick succession of close ups to increase drama and tension, but also long takes to let the viewer understand the context of the titles. Both of these elements are in both film's title sequences. "Apocalypse Now" includes a long track in a right direction. This is to allow the audience the ability to 'absorb' the film's surroundings. However, in "Se7en" the idea of fast, rapid succession of slides through editing later, creates a intro sequence of uncertainity and insecurity. As a normal image such as an identity-disguised photograph distorts into something else entirely, creating unease in the viewer.
Overall, both film title sequence's provide a great deal of generic expectations, which serve to both fulfill narrative expectations from the reader, but also serves to disturb and shock - usual occurances in titles. Many ideas have been gained to be placed into our own film from the detailed analysis I carried out on both, and many ideas mentioned here will most likely put across into the final production.
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