These two news stories gave me the idea of a film where there
is a girl, 16-17 years old, who has been passed through the foster care system
time and time again and is now being kept in an unsuitable housing situation in
an abandoned building or above a supermarket. There will be a little love story
arch between her and another girl being kept there. I would focus on their stories,
trauma, mental health etc. A new child gets brought in who is a little boy
around 4 years old and they look out for him. At some point one of the girls
has to leave because a foster place opened up for them and we cut between her
experience there and the other girl with the child. The girl at the foster home
actually has good people looking after her and they help her get a job etc to
make enough money to look after herself when she turns 18. At the end the
couple move away into the forest and live a ‘cottage-core’ life with their
little boy whom they have adopted.
The opening title scene:
Wide establishing shot of a girl sitting crouched over in an
abandoned building, hood up, rain pouring down, various different extreme close
ups of her hands and face, edit the colour of the shot to make it darker and
gloomier, sound track in parallel to the scene maybe she is wearing headphones, no dialogue and minimal action just the right amount of different images to keep the audience guessing and asking themselves questions.
Or
Beeping of supermarket and supermarket noises and movement then
camera turns up and moves through the ceiling to see the girl and then close
ups like above but this time the girl is in a corner of a dark room with other children around her but she is clearly slightly separated trying to get some space and have a break.
They believe in ‘turning the lonely process of writing and
development into a collaborative and exciting process to create a strong and
unique IP’
Deliver every project on time and under budget
Aim
to release 2-3 titles a year from 2021 onwards
Trust
loyalty integrity passion
About Belstone Pictures:
Finn
Cardigan Bruce – CEO
Finn's love for film started at Hurtwood House
Film Academy. He founded the company with a desire to make films that push the
boundaries and share spellbinding stories. He started as photographer in America
then learnt how to work a set at various shows including top gear, downtown
abbey, X factor and Les Miserables. He then worked at Blink TV, Mario Testino,
MPC and sky news. After that he was an executive assistant to Shaun Redick and Ray Mansfield
in LA and Nicola Horlick for investment and development of her two films. He
began to focus on Belstone in 2016 and since has raised over £1 million independent
equity. They collaborate with various financing partners and small
internal funding and receive distribution globally with Netflix. Film 4, IFC
Films, Cineworld, HBO and Showtime. They are part of FCB production company and
have released three feature films with a slate of over 10 projects.
Feature Films:
Tucked
A
veteran drag queen with a terminal illness begins a new friendship with a
younger man and cleans up unfinished business with his estranged daughter.
Cast:
Faith:
Jordan Stephens
Jackie:
Derren Nesbitt
Lily:
April Pearson
Daryl:
Steve Oram
MC:
Brendon Burns
Soundtrack: Robbie Williams, Lola Coca, Celeste and Elli
Ingram
Genre: Dramatic
comedy
Director:
Jamie Patterson
Writer:
Jamie Patterson
Gross
revenue: $23,080 = £16, 734
Tank 432
A
group of soldiers are forced to hide out inside an abandoned tank when they
come under attack from an unseen enemy. As the forces outside begin to close
in, the men realise that the real enemy is already among them.
Cast:
Reeves:
Rupert Evans
Capper:
Micheal Smiley
Karlsson:
Deirdre Mullins
Gantz:
Steve Garry
Smith:
Gordon Kennedy
Annabella:
April Pearson
Evans:
Tom Meeten
Prisoner:
Georgina Beedle
Genre: Psychological thriller
Director: Nick Gillespie
Writer: Nick Gillespie
Release date: 24October 2015
Estimated budget: £150,000
Making tracks
As Lucy and Chris set off on an interrailing trip, they
look forward to rolling countryside and historic city centres.
At first it's all skinny dripping, adventure and nights out.
But relationship problems rise to the surface as an attempt at sex on a train
goes disastrously wrong - and when it becomes clear that Chris believes an 'al
fresco' is a salad.
Chris hides his emotional repression and thoughtlessness
behind a wall of childish behaviour, whilst Lucy begins to consider her future.
As the trip forces the couple into close quarters, can their relationship
survive?
Cast: Chris Willoughby April Pearson Skye Lourie Lily
Donovan Jonay Sevillano Regalado Edouard Fousset Carli Sandweiss Ramzi
Dehani
Genre: Comedy
Director: Jamie Patterson
Writers: Jamie Patterson, April Pearson, Chris
Willoughby, Finn Bruce
Release date: 18 August 2020
Paul Dood’s deadly lunch break
A weedy charity-shop worker is set on winning the
big national talent show. But when the actions of 5 selfish people cause him to
miss his audition, he sets out to seek deathly revenge. It's 1 lunch break, 5
spectacular murders.
Cast:
Paul:
Tom Meeten
Bronson:
Kris Marshall
Clemmie:
Katherine Parkinson
Rex:
Johnny Vegas
PCSO
Miles: Mandeep Dhillon
Jack
Tapp: Kevin Bishop
Officer
Able: Craig Parkinson
Kath:
Alice Lowe
Jayney:
Pippa Hawood
Jim:
Steve Oram
Bruce:
Jarred Christmas
Genre: Dark
comedy
Director: Nick Gillespie
Writers:
Brook Driver, Nick Gillespie, Mathew White
Release
date: 17 March 2021 US
Other
Projects:
Hollow
– short film
Sanctuary
of collell
Improve
your life now – documentary
In
Pre-Production:
Untitled
shrine taylor traveller film – biopic
Untitled
festival documentary – behind the scenes documentary
No time to die and black widow have an endless list of differences
and similarities but when we look at the two films holistically as products
they use the same techniques to attract wide audiences and ultimately bring in
the most amount of money as possible.
Black widow first started development in 2004 and had a
budget of $200 million meaning the planning and organising behind the film
would have been carried out in extreme depth and detail. No time to die started
developing in early 2016 and had a similar budget of $250 million. Both films
had to deal with the struggles of Covid and got pushed back because of it. The bond film was delayed by
around 18 months and finally got released on the 30th September 2021,
this is because the director and producers decided that they didn’t want the
film to be released onto any streaming platforms before fans had the
opportunity to see it on the big screen, more specifically on the IMAX screen. Black
widow was released simultaneously in cinemas and on streaming platforms. Scarlett
Johansson sued Disney for this because she was promised a ‘theatrical release’
which she felt was not achieved because of the release to streaming platforms.
It also meant that although the film did incredibly well on the first weekend
of being released
(earning $218 million), box office receipts started to rapidly fall after this
time. Whereas no time to die has earned $121.20 within the first 2 weeks and it
has only been released in cinemas which suggests that once it is released onto
streaming platforms this number will increase rapidly.
Both films heavily relied on their marketing strategies to keep
their audiences interested during the delays. Black widow had a marketing
budget of $150 million. When the film was first announced in 2019 at the San
Diego Comic-Con sneak peaks of footage was released from the first 30 days of
filming and cast members started promoting the film via social media. The first
teaser trailer was released that December and got the attention of fans all
over the world and various critics who praised it for being ‘surprisingly
emotional’ and highlighting its spy thriller tone. One critic, Mendelson, found
the trailer to be an improvement over the teaser, attributing this to its theme
of "found families, forced families and actual family". After the announcement
of the delay the marketing team paused their campaign and decided to build a
new approach to the film. Rather than focusing on Black widow in her black
costume as before they began spotlighting her in her white suit and her legacy
as an avenger, this meant that posters now had two different approaches that appealed
to different audiences and therefore attracted more people to the film. Pre-sold
elements also contribute to the marketing because the Black Widow comic books
and her appearance in other marvel films means the film will already have a fan
base that will be talking about the films release on social media which means
more people hear about it and come to see it. The Bond film had a similar
approach first releasing a teaser trailer, then multiple trailers, however the
Bond film was delayed for a far longer time than Black Widow meaning they had
to try even harder to hold and attract audience attention. They did this by producing
multiple different posters and made deals with different brands for example Heineken
that kept mentioning the film whenever that brand was advertised. Some of
the posters tailor to people who prefer the more vintage approach to the bond
films with the classic 007 behind Daniel Craig dramatically holding a gun or
the comic book drawing effect to the image. Whereas others take a more modern
approach for example the heavily edited poster that includes multiple characters
and a mysterious atmosphere to ensure you know what genre the film. This being
Daniel Craigs last Bond film had an impact on the marketing as well because it
meant that no matter how delayed it was fans would still wait to watch it
because they had looked forward to it and followed the bond franchise for a
long time. Like Black Widow, there are also pre-sold element for the Bond film with
the Ian Fleming books and all the previous films. This attracts a huge fan base
that crosses multiple generations which ensures a following and again that it
will be talked about on social media and spread by word of mouth. Using Billie
Eilish to sing the opening song caused massive publicity because she won a Grammy
for it, became the youngest artist to sing the Bond opening and the film now
appealed to her fan base around the world.
There is various product placement
in both films. In the Bond film there is:
Triumph motorcycles
Omega watches
Moscot glasses
Land rover SUV
Aston Martin
cars
Nokia phones
In Black Widow there
is:
CCM motorcycles
TOV Artich Vodka
Chevrolet
Ford
Piper aircraft
Lada
Dell technology
Microsoft
BMW
Both of the films are very high
concept and have all the aspects associated with this like the A-list cast such
as Scarlett Johansson and Florence Pugh and then Daniel Craig and Rami Malek.
This makes the film seem more credible as people know that these actors are
talented and have been in successful films in the past which promises that their
future films will also be successful and high grossing. The stunts for the Bond
film relied on hiring all the right people rather than CGI for example the motorcycle
jump that happened when Bond came around a corner, onto a narrow street
filled with parishioners exiting church, so he aims left, rockets up a long
stone staircase and launches over the stone wall at the top. This stunt
was performed by Paul Edmondson five time world eduro bike champion and the
stunt was completed on his 50th birthday which was very impressive. However
unlike the Bond film, Black Widow had a large amount of CGI involved in scenes
that may or may not have been noticeable for example de-aging David Harbour and
Rachel Weisz during the flashback sequence and in the final action scene where
Natasha (Scarlett Johansson) is sliding down a solar panel that is falling through
the sky a mix of GCI techniques was used. Johansson was in full costume sliding
down a blue ramp, digital effects supervisor Hanzhi Tang said "There’s
a lot of stuff going on in this shot. Scarlett Johansson was filmed in a
full Black Widow costume sliding down a blue ramp. That’s the
plate.” However, she typically might not do the full move as was needed
for this shot. Because her body actions didn’t line up exactly with the solar
panel or the pose, from the neck down, it’s been replaced by the digi-double
version of Black Widow. And because her hair would have just gone in front of
her face, that also needed to be replaced in CG.” No time
to die was filmed in many different countries including Italy, England,
Scotland, Norway, Faroe Islands and Jamaica. Black Widow was shot in Norway, Hungary,
Morocco, UK and US and filming locations included Macon, Georgia; RAF Upper
Heyford, Oxfordshire; Sæbø, Ørsta;
Budapest, Hungary. Filming in all these different countries spreads news
about the films all around the world.
In the
past the two films have been focused mainly on action and in black widow’s case
the sexualisation of her body for a male target audience. This has changed in
recent years to shift the focus to include the emotions and the backstory of
the characters. For Bond this meant giving the audience a look into his
relationship with his girlfriend and their history together. Natasha in black
widow has often been over sexualised with her wearing very tight suits with a zipper
that always seem to stop mid chest level and the audience never really got much
information about her life story and her relationships. The new film focuses on
Natasha’s family and how and why she grew up the way she did while still having
plenty of action. I far prefer it when films focus on the characters emotions
because it allows you to build a connection with them and in Natasha’s case
when she dies in Endgame it has a far bigger impact on the audience if we are
emotionally invested. (spoiler! They do this in Bond too when he dies at the
end) It definitely targets a slightly different audience because after my
family watched Black Widow together my dad ended up falling asleep while my
sister, mum and I absolutely loved it. I think it is good that they made the
film with the non-male audience in mind because ultimately in means bringing a larger
audience demographic into the Marvel universe and if you watch one film you are
likely to watch another one.
The
opening title sequence of 'dead man’s shoes' starts with a black screen and a
gentle non-diegetic sound track of a British folk/country song. This immediately
sets a nostalgic, reminiscent atmosphere. Which is then proven correct when
different shots of old home video footage that has a scratchy warm filter over
the top. This feels inviting,comfortable and familiar to the audience as everyone has some form of experience of watching old videos or looking at family photos from years ago. It then cross cuts to a wide shot of two men walking in the
countryside. The cross cutting tells us that they men walking are most likely
the boys in the home videos as babies. This is enforced when a dissolve is used
to connect the shot of them walking to a home video of two babies hugging which
makes us think that the two men are brothers. In all of the shots the brothers
are walking from right to left and away from us which tells us they are perhaps
returning home or are on a journey to somewhere familiar.
The younger brother
dressed in black appears to be following the other brother suggesting the older
brother is more dominant and the distance between them tells us their
relationship might be strained. The long distance of the path and depth of
field emphasises the long journey. The old video footage of the Christmas trees
connotes that perhaps they struggled with money due to the small tree. We also notice that the brother dressed in green is carrying an army duffel bag which brings with it hints of violence and pain that may have come with being in the army. This contrasts the atmosphere that has been set by the soundtrack and the old home movies. The two brothers are dressed in opposite colours and never once look at each other or speak to each other, this makes it clear that something must have happened between them to cause this and intruiges the audience becuase they want to find out what it is. Once
they arrive to their destination they walk into the distance and the
shot fades to black.
Film runs through camera and projector horizontally instead
of vertically
12k resolution
Company from Toronto that started as an experimental film
company. They have their own line of high-resolution cameras, film formats,
projectors and theatres. They create film images that makes you feel like you
are in the movie. The first permanent IMAX was established in May 1971 and they
started to go public in 1994.
Specific IMAX created movies are far better to be seen in
IMAX theatres which tries to cancel out the competition of streaming companies.
The key cinema audience is around 16-24 and IMAX provides an opportunity to
make film watching a social event.
Key facts:
IMAX film stock has 15 perforations instead of the regular 5
perforations
Vertically shot on large noisy cameras can only shoot 30s –
2mins of 12k footage at a time
Projectors use a unique xenon arc lamp that is
extremely sensitive
1500 IMAX in the world spread over 80 countries
Two projectors run simultaneously
Bigger picture = better clarity
Only uses IMAX cameras for specific scenes in large production films
In the opening title scene of Guardians of the Galaxy Volume 2 Groot
is in focus on the left hand side trying to plug in the music while in the
background a huge fight is taking place. Despite being blurred it is impossible
to mistake the fight scene occurring behind Groot. The fuzzy background ensures
that our focus remains on Groot and adds humour to the scene because of how
unaffected Groot is. The titles appear straight away in neon blue lettering
making them unmissable, the blue is also keeping in theme with the colour
palette chosen for the main title. Once Groot manages to plug the aux cord in ‘Mr.
Blue Sky’, an 80s pop song starts playing. This acts as the scenes soundtrack and
sound bridge even though it is diegetic. When the main title appears the shot
freezes with Groot dancing and then while still being frozen the camera moves
90* so that we have a different composition when the action starts again. The
scene is continuous and has no cuts so the camera tracks Groot’s movement. The
song is contrapuntal to the scene but synchronous to Groot’s dancing. After the
tentacle of the monster lands behind him the camera quickly moves backwards
into a wide shot and the background is no longer blurred. Groot has various
interactions with the other characters; for both Peter and Gamora the camera
takes a wide shot and for Drax the camera goes into a close up so we can
clearly see Groot’s eye movement in response to Drax’s stare that seems to say
‘stop getting in the way’. Gamora says ‘Groot get out of the way, you’re gonna
get hurt … hi’ before flying back into action this again adds humour but it
also tells the audience that Groot is very much like a baby that the characters
always worry about. The rest of the scene continues to follow Groot as he
explores and dances while everyone else fights. The CGI and colours used
immediately tell us that this is a sci-fi film on another planet. The vibrant
constantly changing colours creates a disco effect for Groot as he is dancing
which adds to the comedy that has already been established through Groot not
bothered by the violence. The colour palette consist of bright purple, pink,
orange, blue and green. The vibrancy of the colours makes for an exciting almost
hypnotic effect which both works harmoniously with the scene and juxtaposes it
at the same time. The colours add to the excitement of the fight behind but
also contrast to the violence of it. The orbs of orange fire are beautiful but
also dangerous as one of them explodes this could be foreshadowing the events
to come with the people whom the planet belongs to.
Stranger than Fiction
Genre: Fantasy, Comedy, Drama
Director: Marc Forester
The opening title scene of ‘stranger than fiction’ starts
with the camera rapidly zooming in onto a wrist watch. As it is moving past all
of the buildings various non-diegetic sound effects are played such as a dog
barking and a clock chiming to give the effect of the busy city early in the
morning. Once we see the watch face the asynchronous voiceover starts, at this
point the voiceover is non-diegetic. The wide shot of his dark and immaculately
tidy bedroom suggests that he is perhaps obsessive before the voiceover even
says anything. The camera then goes inside his mouth and we see him brushing
his teeth in the mirror while a pleonastic sound effect of brushing is played. The
close ups of him brushing his teeth combined with the upbeat curious music and
the editing of putting multiple shots into one shot in a collage adds comedy to
the scene because it makes such a mundane task seem interesting. The camera tracks
his movement as he walks to work and talks to his co-workers. This interaction
is not particularly social as all he is asked is to solve a maths problem they
were having, the director demonstrates how his brain works by projecting numbers
onto the screen to show him counting his brush strokes or solving the math
problem. We find ourselves asking why he is like this and how it affects his
life. Later the voiceover tells us that he is very lonely which makes the
audience sympathise for him and we make the assumption that he is lonely because
of how obsessive he is. When he brushes his teeth for the second time there is
an over the shoulder shot so we can see him in the mirror of him listening to
his toothbrush to try and figure out where the ‘voice’ is coming from. This has
an interesting effect because not only is it hilarious that he is listening to
his toothbrush with a completely straight and serious face but the audience feels as though we are invading his privacy in
a way because the over the shoulder shot makes it seem as if we are watching him.
It is at this point that the voiceover is no longer non-diegetic but diegetic as
it is revealed that he can hear the voice. This is enigmatic because we immediately
ask ‘where is the voice coming from’, ‘who does it belong to’, ‘why can he hear
it but no one else’. These questions keep the audience hooked as the film
continues.
Film and TV would be incredibly boring without the combination
of camera movement, editing, sound and mise en scene. If even just one of them
is missing it is immediately noticeable. We have been looking at how all these
aspects work together to create a successful film opening title sequence.
other transitions: dissolve, fade-in, fade-out, wipe,
superimposition, long take, short take, slow motion, ellipsis and expansion of
time, post-production, visual effects
• Jack Nicholson as Jack Torrance • Shelley Duvall as Wendy Torrance • Danny Lloyd as Danny Torrance • Scatman Crothers as Dick Hallorann • Barry Nelson as Stuart Ullman • Philip Stone as Delbert Grady • Joe Turkel as Lloyd • Anne Jackson as Doctor • Tony Burton as Larry Durkin • Barry Dennen as Bill Watson
Year: 1980
Studio: Warner Brothers
Director: Stanley Kubrick
The title sequence opens
with a wide shot of a beautiful valley, with still water and mountains on
either side. If it weren’t for the immediate dark, booming, non-diegetic
soundtrack the scenery would be pleasant but because of this juxtaposition we
are instead filled with unease because the music makes us constantly question
whether something is about to happen. The camera movements add to this uncomfortable
feeling because it is an aerial shot moving rapidly toward a little island but
then veers to the right and just keeps going which as an audience member makes
you feel uneven and unbalanced because you automatically think the camera will
straighten up but it doesn’t. The shot then dissolves into an incredibly high
birds eye view of a road and the camera follows a little yellow car from
behind. The fact that the camera stays behind for a while gives the shot a
stalker effect and adds intrigue because we start to believe that whoever in
the car must be the main characters and the constantly building soundtrack
combined with the scenery of the car driving very close to a cliff, makes us
feel nervous for them.
When the titles come up it is a bit of a surprise and our
attention is drawn to them as they are in the centre of the screen and contrast
the background and the atmosphere that has been built up because they are very
simple and bright blue. However this has an interesting effect because just as
out focus is drawn to the names in the titles the camera moves in on the car and
then moves past it which confuses the audience because it starts to make them
doubt whether the car had any importance at all. After the main title ‘the
shining’ appears the car comes back into shot and the music builds with
screaming and bizarre noises joining in. Throughout this we watch as the people
in the car drive deeper into the mountains, further and further away from
humanity and help. When the camera cuts to the hotel you can’t even see it at
first because it blends in so well with the mountain but once you do spot it
you can’t unsee it. The eerie screaming in the background intensifies as the
camera moves around so that we can take in the sheer size of the hotel. The
audience begins to fill with dread as the realisation of just how isolated the
hotel is begins to sink in.
The brass instrument playing a minor key with the
weird noises on top as the soundtrack would mean that sitting in a cinema you
would be able to feel the bass vibrations through the floor, this in
combination with the camera movements, height of the camera and movement of the
titles all creates a sick feeling and plays on possible fears the audience
might have (height, fear of falling, isolation etc) which sets up the perfect
atmosphere for the film because subconsciously the audience is already afraid
and on edge.
Se7en
Cast:
Brad
Pitt as Detective David Mills
Morgan Freeman as Detective Lieutenant William Somerset
Gwyneth Paltrow as Tracy Mills
Kevin Spacey as John Doe
R. Lee Ermey as Police Captain
Year: 1995
Studio: New Line Cinema
Director: David Fincher
The opening
title sequence of ‘Se7en’ starts with an eerie non-diegetic soundtrack that has
almost hospital like sounds creating the rhythm with various different obscure
noises over the top, it is steady throughout, repetitive and monotonous which
eventually makes your head feel uncomfortable and all you want is for the sound
to stop. The first shot is a short close up of book pages which then cuts to a
black screen that has the titles on, written in scratchy handwriting text that
jumps around, but they stay on the screen long enough to be able to read them
so the jolty effect is successful and adds to the eerie atmosphere. We then cut
to a close up of someone’s hands holding a razor and cutting off bits of their
skin. This is also an introduction to a character, although we don’t know who
they are we can tell a lot from just that image of their hands. The dryness
suggests they work with their hands, maybe they are a bit old, perhaps they
work with chemicals that dry out their hands or hard labour that causes them to
become calloused. We then see as the person’s hands reach for a notebook while
they have plasters on their fingertips and there is a close up shot of the
writing inside the book. It is very close together and there is a lot of
writing with very little space between it suggesting this person is obsessive and
has a busy mind that they struggle to control.
The short close up shots start
to build a sort of profile for the character as we get snippets of what they
are doing. We don’t get a positive feeling from the character and instead feel
uneasy and unsafe. The red flash of the red room tells us that this person has
pictures they don’t want anyone else to see. Which raises all sorts of
questions. The words that are noticeable to the audience are ‘fantasize’ ‘intercourse’
and ‘pregnancy’ which in combination with the shot of a little boys eyes being
drawn over and then his whole face being scribbles out creates a sense of dread
in the pit of the audiences stomach. We see a picture of someone having a brain
operation of sorts which is deeply disturbing. And we then watch as the person
sews up some pages and then cuts to an extreme close up of the word ‘GOD’ being
cut out from a dollar bill. The soundtrack then synchronises with the shot as
we hear a singer say the word ‘GOD’. The soundtrack speeds up as it goes along
and then comes to a very abrupt end which leaves the audience in a shocked state
for the opening of the film to start. Every shot in the title sequence doesn’t
stay on screen for very long. It is fast paced and slowly speeds up as the
soundtrack also speeds up, this creates a chaotic feeling but it is an
organised chaos because although the imagery is obscure and difficult to make
out it has a cumulative effect that tells us a lot about the character.
Comparison:
The two title
sequences have both got loads of aspects that are both similar and different
but create the same effect. For example they both share the repetitive bass to
the soundtrack with the obscure ominous sounds over the top to create a tense
atmosphere and in both we are sort of introduced to a character but not fully.
In the ‘Shining’ we get the impression that whoever is in the car is the main
character and although we don’t have any idea who they are we are already
nervous for them and what fate awaits them. In ‘Se7en’ we are introduced to a
character in a different way because we only see their hands but rather than
feeling nervous for the character we start to feel afraid of them because we
associate the images and jerky movement of the camera and words to the
character which therefore makes us believe them to be unpredictable and
dangerous.
The biggest difference between the two is the scenery and the pace of
the editing. In the shining the editing is a lot slower and we have time to
look at everything in the wide shots whereas in se7en the editing is much
faster and your eyes and brain have to work a lot harder to try and see everything
in each shot, all of the shots are close up as well which creates enigma
because we don’t know where we are, only the objects the character has. There
is more contrast in the shining with the beautiful scenery compared to the soundtrack
but in se7en the soundtrack runs in parallel with the images. I think both openings
lead the audience to assume that the narrative of the film will be dark,
frightening and tense – for both of the openings to have this in common I would
say that it is mostly due to the soundtrack as that is the one obvious
component that they have in common. I would consider both very successful, I
think se7en’s opening works better with the genre of thriller but I personally really
love when films have a lot of contrast between the visuals and sound because I
think it makes it more interesting to watch.
