Two films I drew the most inspiration from wereMichael Caine crime thrillers „Get Carter‟ (1971, MikeHodges) and „Harry Brown‟ (2009, Daniel Barber). Firstly I took elements from the stories of each film to create a basis of which to work on for „The Inside Job‟, most notably, a convention of this genre of film, a tale of revenge, in both films, for the death of friend (mine being the death of henchman come bestfriend to my character, Thomas Michael Hodgetts).Inspiration
I mainly adapted the trailer using the grungy 1970‟s pulp noir aesthetics with urban atmospheres and blocky yellow captions of „Get Carter‟ (1971). The look and feel of the visuals aswell as the storyline and criminals depicted throughout, was something that appealed to me, and was something I wanted to reproduce.Visual Aesthetics
LOCATION: I attempted to find very dirty, grungy and urban atmospheres to adhere to the style and representation of gang locations and the concrete look of film such as „Get Carter‟, and „The Ipcress File‟ (1965).REPRESENTATION OF CHARACTERS: Iassembled a cast I felt were able to reflect andportray the different levels of the hierarchical structureof criminal organisations on each side during the film,so some taking orders from rogue amateur leader ofthe Irish travellers Shane O‟Donnell (Jamie Newdeck)and henchmen and „little fish‟ who are roped into thegang‟s dirty work by the main organisation, HarryMitchell (Me). conventions
MUSIC: I chose certain pieces of music to create segments within my trailer to create a certain atmosphere with a collection of clips from a specific part of the film to give a feel of the story. So for example, I used “Bullwinkle Part II” by The Centurions (1964) with the confrontation scene between Tom Hodgetts and Tom Griffith leading upto the stab to create a sense of danger. I also used “Shipping Up To Boston” by Dropkick Murphys (2004) as the main piece of music with a montage of clips to underpin the theme of the film with the Irish criminals who create the problem in the narrative.Conventions ii
I orginally did this poster as a landscape piece based on the „Scarface‟(1983) poster and the composition of the 2005 re-release poster of„Rebel Without A Cause‟ (1955); however, as much as I liked the layout,I felt that the title isn‟t big enough, and just fades with the background,hence why I split the piece into two parts and altered the font colour tostand out.Posters I
I designed a Japanese version of my poster based on the Japaneseversion of „Deliverance‟ (1972) to appeal to the Japanese market andsell overseas, with the main elements and events summarised in imagesas does the Deliverance one to portray to a foreign audience the genreof the film.Posters Ii
This final version of the poster, I loosely based onsome character posters I saw for recent Tilda Swintonfilm „We Need To Talk About Kevin‟, which had acharacter shifted to the right and text reviews packedout on the right which I thought was particularlyeffective as it fills the space neatly, and advertises theproduct well.Posters iii
The actors names The films tagline in a different colour font The image fadesare clearly to the reviews and title to grab your into thedisplayed at the attention first after spotting the title, and background buttop, in opposing it neatly layed out filling a precise space. stands out wellcolours, (and with the overalldifferent colours theme, and standsto the white and out by having allyellow reviews the text fittedin a smaller font Numerous reviews around thebeneath) to head in different sizes photograph,the poster. with a tagline filling the space from the review nicely. source to fill the blank space and sell the film. The title is the largest object and/or piece of text on the entire composition, and colour scheme Names of cast and wise clashes crew displayed, Movie website well white on with ranks, and link displayed at black in order production title base of poster for it to stand above casting. POSTER CONVENTIONS out well, catch people’s attention and ultimately, sell the product.
These character posters follow the same layout as theofficial poster to make a recognisable layout, withactors names and their character taglines to givetasters of that character away on the poster, and arelease date larger than the actor title to let peoplePosters ivknow when it opens.
I chose Total Film magazine as I enjoyed the aestheticand layout of images in relation to text and colourscheme, so I incorporated the general layout for „TheInside Job‟ special editionMAGAZINE
I replicated the Price and magazineTotal Film logo publishing date,vector on included with thePhotoshop using Total Film websiteblock colour in the rift of the ‘M’.shapes to create the Centralised imageword, andanTo create with target motifoverlayed ‘Total’authentic design, I related to theinto the top thirdincorporated real theme of the film,of the ‘F’. springupcoming overlapping thereleases to logo as thesurround the image. magazine models I created an image often do. bar like a film strip to lay over the image to advertise inside information, as seen on some issues of Total Film and Empire magazineI included the Large title at base,Future Publishing just smaller thanlogo and combined logo to grabbarcode as the real attention.Total Film has. MAGAZINE CONVENTIONS
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