I'm not really good at introductions so I'll just hop into it. My name is Jose Puche. I am seventeen years old and this blog is dedicated to follow the process that I will go through creating a film introduction. As of now, I am researching the genres I have considered to do my film's title sequence on (crime-suspense, psychological thriller, and neo-noir) and beginning to develop my story along with the characters in it. If I were to complete the full production, I would definitely gear towards a more character driven film instead of having the plot be the main focus.
A movie I enjoy which has many similarities to the idea I have in mind is Taxi Driver(1976) by director Martin Scorsese. I like the laid back city ambience along with the development of such an interesting character like that of Travis Bickle. The introduction of this movie was done excellently as well, with the soundtrack shifting back and forth from intensely orchestral to a mellow saxophone lick. The visuals of New York City from a taxi cab (which Travis Bickle always saw as a disgusting mess of crime and sin that he felt necessary to "clean") are blurred and seen in a haze. Beautifully ambient and striking, not only does the introduction of Taxi Driver appeal to the eyes and ears, but the inclusion of the chaotic shift between music and the eyes of Travis Bickle scanning the city which he will grow to loathe tell a lot about the mental stability and the way Travis sees the world from the very beginning. This title sequence is one of my favorites and although I will most likely add a portion of dialogue to my opening, the way Taxi Driver says a lot about the main character's personality and mystique from the very start through only the use of editing and soundtrack is something to appreciate and learn from.
I will be creating a list of film openings that I believe are important to watch and ones I will study closely in the creation of my own introduction in the upcoming days and posting it. I plan on researching techniques used by the great directors and learning more on the process of character development and scripting. In a legal pad, I have messily taken notes almost in the form of a stream of consciousness. Covered with the names of directors and films I admire along with ideas like taking use of a frame's quadrants for story telling or considering the use of narration, this notepad has many proposals to research and expand upon.
I'm planning on creating my own music for my piece as to create something specific for the tone of my film introduction and to save the headache of working with copyrights. I am also creating a schedule which would entail having my story and a rough idea of the scene done by this Saturday, March 12th. This week is ground zero of my project, and making sure that I have all the research and preparation done is crucial to ensure that the guidelines of my project will be well set and will make the rest of the process of creating my production go smoothly.
Scorsese, M. (Director), Schrader, P., Herrmann, B., Lucas, M., Chapman, M., Parmelee, T., Warner, F. E., . . . Rudloff, T. (Writers), & Phillips, M., Phillips, J., Goldfarb, P. M., Smith, D., Rosen, C., Mulligan, H., . . . Perri, D. (Producers). (1976).Taxi driver [Motion picture]. United States: Columbia Pictures presents.
Caron, A. (1997, September). The Last Temptation of Travis Bickle. Retrieved March 10, 2016, from http://offscreen.com/view/taxi_driver
Marine, J. (2015, January 31). How the Cinematography of 'Drive' Utilized Quadrants for 'Tightly Composed & Weirdly Unpredictable' Frames. Retrieved March 09, 2016, from http://nofilmschool.com/2015/01/nicolas-winding-refn-quadrants-cinematography-drive-tony-zhou
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