Again, the detective is in a suit, but when she enters, out of politeness, takes off his hat. This is usually a respectful way to greet someone, but here also represents the control he has. When Bonnie is around, he lacks control, and so the hat is off. Bonnie is wearing a fur coat again but this time a white floaty dress. This connotes innocence and through semiotic effect makes us think she can do no harm. The lustful red lipstick and curly hair do challenge this expectation however.
We used an office at school that had blinds similar to the Venetian ones. We couldn't find a place that had the perfect blinds, so we tried not to include the window too much in the shot, and relied on props such as a briefcase, glass bottles for alcohol, beer bottle, photographs and two antique clocks. We ran through the dialogue in the scene and also filmed it a number of times to get different types of shot.
We made sure that Bonnie's body language throughout the scene is very suggestive. She throws herself forward on the desk and enforces eye contact with him, which is usually construed to mean she has nothing to hide. The Detective keeps his cool of course but we know as soon as Bonnie has left and he jumps on the phone to get the case started that she has had a very big impact on him.
EDITING PROCESS:
The first shot we used was an over the shoulder shot which shows the detective's shoulder and his hands moving around the photographs on the desk in front of him. Immediately this initiates for the audience the idea of a working environment, and conventionally criminals are usually in head shots when they are suspects. This then sets the scene to show that this is indeed the office of a detective. In the shot also is a beer bottle and two glasses - this follows the conventions of typical 1950's police officers who did enjoy the occasional drink - in many films you see them indulging on alcohol at work when the going gets tough. This is exactly what our character does, and having the drink in the shot highlights this part of the era in policing.
The names of the actors in the film comes up in white text font 'times new roman' to make sure it is clear to the viewer. The choice of font is a very simple one but is easy to read and therefore works well. We added text through the tool 'T' which is underneath our original clip viewing available on final cut and dragged our written text over to the edited clip and selected where to put it on each part. Each name is in view for 3 seconds, which is long enough for it to be read and have drawn attention, but not long enough to distract from the action happening in the clip. They were placed in the corners so they did not get in the way. The top right hand corner and bottom left corner were used, because they are the corners that had the least detail in them in terms of mise-en-scene in the clips.
We put a narration over the clip using the 'voice over tool' which allowed us to watch the clip and then simultaneously time the script into it so that it worked perfectly. Ed sat by the computer and read from the script making sure it ran well with the movements his character was doing in the previously filmed clip. We did it twice because he made a lapse on a word in the first try, but of course it worked out well doing it again because he was more familiar with the timings.
Halfway through the first section of the scene the shot changes to one that appears to be on the table. This makes the first part where the character is simply looking at the photographs more interesting than simply containing it all into one shot. A key aspect of this second shot is the clock - it adds a more old fashioned edge to the scene, once again setting it in the 1950's well. We matched his hand movements across the two shot types so it ran naturally to the eye. This meant we cut each clip sharply to put the timings in place well.
We chose a solemn music clip with minor tones to allow a sombre introduction to the film, just as the 1950's era was presented by. It sets a depressing mood to the first clip which allows the flow into the fall of the male protagonist to begin. The music was turned down to allow the narration to be heard well. We then turned it up slightly in the appearance of the title 'Lustful Injustice' and then it was turned down again for the duration of the rest of the clip. We used the two images of the criminals that are the focus of the story to be behind the 35% transparent white sheet that under layed the title so that the audience can develop an awareness of the two characters to make them curious as to the reason why we have focused on them, and therefore persuade them to watch on. By using Ellen's photo to appear in this scene it creates tension into the office scene, because after the 'ripple' effect that we added by going to 'transitions' and 'ripple effect' her face is the first one we see. It makes you wonder what on earth she has done to the detective. This is enhanced when he says "things could have ended very differently." The ripple effect is not conventional of film noirs, but the flashback idea is, so we combined both to make the event of a flashback much more obvious for the audience.
Showing Bonnie's face first through the door creates a divide between her and the onlookers because the door is in the way, but when she enters the office the suspense and mystery of her character is maintained because she is shown in cut away shots. I like the fact that when she says 'hello sir' the seduction in her voice draws you to her character, even though you can't see her face. The two shot of the camera has the whole of the detective's upper half in them, revealing him, but only half of Bonnie which suggests that she may be concealing something, which is exactly the effect we want. Her lips do make an appearance, and as the are the connotation of seduction, it makes her intentions clearer.
By the end of the clip Bonnie's whole face and upper half is revealed. This makes the audience see like Carter and think that she is completely honest and revealing her true feelings because she has been revealed on camera. Of course this is not the case. She then contradicts this feeling the audience may have developed because again her lips are the focus; she says "take me out somewhere I'll like and we can sort this thing out together."
We see Carter lean back in his chair as Bonnie walks away, and then rush in to call his assistant Chester to get on the case Bonnie has asked him to quickly. By a cut to a close up shot of Carter dialling the numbers we are shown a sense of urgency, because the quick cut enables a quick reaction in the audience.
EDITING PROCESS:
The first shot we used was an over the shoulder shot which shows the detective's shoulder and his hands moving around the photographs on the desk in front of him. Immediately this initiates for the audience the idea of a working environment, and conventionally criminals are usually in head shots when they are suspects. This then sets the scene to show that this is indeed the office of a detective. In the shot also is a beer bottle and two glasses - this follows the conventions of typical 1950's police officers who did enjoy the occasional drink - in many films you see them indulging on alcohol at work when the going gets tough. This is exactly what our character does, and having the drink in the shot highlights this part of the era in policing.
The names of the actors in the film comes up in white text font 'times new roman' to make sure it is clear to the viewer. The choice of font is a very simple one but is easy to read and therefore works well. We added text through the tool 'T' which is underneath our original clip viewing available on final cut and dragged our written text over to the edited clip and selected where to put it on each part. Each name is in view for 3 seconds, which is long enough for it to be read and have drawn attention, but not long enough to distract from the action happening in the clip. They were placed in the corners so they did not get in the way. The top right hand corner and bottom left corner were used, because they are the corners that had the least detail in them in terms of mise-en-scene in the clips.
We put a narration over the clip using the 'voice over tool' which allowed us to watch the clip and then simultaneously time the script into it so that it worked perfectly. Ed sat by the computer and read from the script making sure it ran well with the movements his character was doing in the previously filmed clip. We did it twice because he made a lapse on a word in the first try, but of course it worked out well doing it again because he was more familiar with the timings.
Halfway through the first section of the scene the shot changes to one that appears to be on the table. This makes the first part where the character is simply looking at the photographs more interesting than simply containing it all into one shot. A key aspect of this second shot is the clock - it adds a more old fashioned edge to the scene, once again setting it in the 1950's well. We matched his hand movements across the two shot types so it ran naturally to the eye. This meant we cut each clip sharply to put the timings in place well.
We chose a solemn music clip with minor tones to allow a sombre introduction to the film, just as the 1950's era was presented by. It sets a depressing mood to the first clip which allows the flow into the fall of the male protagonist to begin. The music was turned down to allow the narration to be heard well. We then turned it up slightly in the appearance of the title 'Lustful Injustice' and then it was turned down again for the duration of the rest of the clip. We used the two images of the criminals that are the focus of the story to be behind the 35% transparent white sheet that under layed the title so that the audience can develop an awareness of the two characters to make them curious as to the reason why we have focused on them, and therefore persuade them to watch on. By using Ellen's photo to appear in this scene it creates tension into the office scene, because after the 'ripple' effect that we added by going to 'transitions' and 'ripple effect' her face is the first one we see. It makes you wonder what on earth she has done to the detective. This is enhanced when he says "things could have ended very differently." The ripple effect is not conventional of film noirs, but the flashback idea is, so we combined both to make the event of a flashback much more obvious for the audience.
Showing Bonnie's face first through the door creates a divide between her and the onlookers because the door is in the way, but when she enters the office the suspense and mystery of her character is maintained because she is shown in cut away shots. I like the fact that when she says 'hello sir' the seduction in her voice draws you to her character, even though you can't see her face. The two shot of the camera has the whole of the detective's upper half in them, revealing him, but only half of Bonnie which suggests that she may be concealing something, which is exactly the effect we want. Her lips do make an appearance, and as the are the connotation of seduction, it makes her intentions clearer.
By the end of the clip Bonnie's whole face and upper half is revealed. This makes the audience see like Carter and think that she is completely honest and revealing her true feelings because she has been revealed on camera. Of course this is not the case. She then contradicts this feeling the audience may have developed because again her lips are the focus; she says "take me out somewhere I'll like and we can sort this thing out together."
We see Carter lean back in his chair as Bonnie walks away, and then rush in to call his assistant Chester to get on the case Bonnie has asked him to quickly. By a cut to a close up shot of Carter dialling the numbers we are shown a sense of urgency, because the quick cut enables a quick reaction in the audience.
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