So What Does Work?

     When this project was first announced I felt a bit overwhelmed with the shear amount of freedom I was given and it was hard to think of what exactly I can do. A lot of my initial ideas were cool, I didn't feel they work as openings. So I'm taking a step back to doing research on some films and directors I like to see how they open their films and whether they are effective.

SHAUN OF THE DEAD

    Now of course I'm going to start with some classic Edgar Wright. Shaun of the Dead is a Rom-Com from 2004 that follows Shaun, someone who lacks back bone, as he's forced to face his failing relationship, growing up, and zombies because his life just couldn't get any worse. The opening takes place in a bar and for the most part is just a conversation between Shaun and his girlfriend, Liz. The brief scene introduces not only the character, but the major conflict that Shaun must face: remaining the same with his best friend or improving his life without him. Some of the dialogue and editing also tease some of the humor that is to come. 

OLD BOY

    I personally don't remember many movies that jump right into everything in such as way like Old Boy. What this opening does so well for me is captivate the viewer's attention almost instantly. The director, Park Chan-wook, relies on peoples' natural desire for context, and it works. The swelling music and harsh back lighting make the main character seem ominous. Not to mention the actually situation of someone holding someone off the edge of a building is interesting. And when the person hanging off asks for the main character's name, it seem as if the viewer will finally get some context, but it really just leaves the with even more questions. By the time the movie actually begins to develop its story the viewer is already hooked. 

IT FOLLOWS

    Unlike most films, It Follows has a unique antagonist that people both in and outside the film can't see. The film opens with a woman in distress running in the middle of the street. The score and acting both signify that something is wrong. The camera follows the action with slow pans and subtle push ins that further add a feeling of slowly building tension. This opening doesn't establish a physical threat, but more how this threat affects its victims. The mystery of what the threat is, keeps the viewers on their toes and paying attention to all the production techniques because that's all they're given.

 

FERRIS BUELLER'S DAY OFF

    At its core Ferris Bueller is just another movie about teens wanting to make the most of the time they have, but the reason I'm looking into this film when there are probably hundreds of teen movies because the opening literally makes a promise with it's viewer. One of the more talked about aspects of this movie is it's use of direct addresses, and of course the film opens with one of Ferris telling the viewer what he plans on doing. This doubles to establish the light hearted tone as well as the style and techniques that will be used throughout.

THE PRESTIGE

    I feel many tend to overlook The Prestige when looking through Christopher Nolan's filmography. While known for his many accomplishments, Nolan has a consistent ability to create openings that more integral to the story than they may initially seem, and The Prestige is no exception. Rewatching the film's opening I was genuinely surprised by how much it reveals about the final story. This opening serves to grab an audience's attention, but is open to interpterion meaning that different viewings that change how people go into the movie. On top of all of that, the narration from Michael Caine's character explains the basic 3 acts of a stage magicians, and this narration also mimics the "pledge" act, promising to the viewer what is to come in the story.

    From looking at these openings I know that for my opening I want to both grab the attention of my viewer and promise them that the full film would be worth their time. I also want to plant the seeds to major plot points in this opening. If someone can rewatch the opening knowing the full story and interpret it differently I'd be happy.