In class we have been reviewing certain scenes from the Edgar Wright film 'Baby Driver' and contrasting them with the short film 'The Fly'. Both follow a getaway driver during a heist, but take different approaches due to the vastly different characters in each. In 'Baby Driver' we see Baby in the drivers seat, seemingly completely fearless as he watches his fellow robbers take control of the bank he is parked outside. He dances, and shows little to no apprehension despite the high stakes. He is confident, and we see why once he starts driving in a thrilling action scene. We see his vast talent for driving and understand his cockiness in the intro. In 'The Fly' we see a fidgety, and uncertain driver. He then becomes obsessed with trying to kill a fly with a variety of ludicrous methods which is cleverly cross-cut with the bank entrance where we hear shotgun fire and the screams of the patrons. However we only see his accomplices at the end, when they exit looking on with disappointment at the trashed getaway car.
Both films are entirely different despite the similar base situation. Obviously 'Baby Driver' has a huge budget, so can afford to show the robber shooting into the air through the bank windows and also the intense escape sequence after. 'The Fly' has a much, much smaller budget, which shows with the concentration of the scene to a single location and how the scene progresses, as it only reaches a crescendo with the drivers growing anger and the main conflict is between him and a fly. His development is mainly emotional and the narrative is near non-existent. There are implied truths about the driver that we can assume or extract but he is not a fully fleshed-out character. This is mainly due to the time constrain t of the short film and reinforces my earlier posts about maybe not doing a character piece due to these factors. 'Baby Driver' has a huge running time and can fully express Baby and give him a true character arc. His development is more of that from a passive character, to a very active one by the end. He begins doing as he is told by Spacey's character, but by the end breaks form this and does what he has to do for himself and his future, brought on by his relationship with Debora. For some reason I could not find 'The Fly' to embed so will link it here: https://www.youtube.com/watch?v=16ymmfya3i8
As I am very passionate about the script for Blue I wanted to look through some of my inspirations. First and foremost is Submarine by Richard Ayoade. The film focuses on Oliver Tate, a boy who obsesses over a girl at his school Jordana. As the story progresses the two form an uneasy relationship consisting of visiting cold British beaches, industrial estates and a lot of pyromania. Oliver is a self-absorbed character with much of the film focusing on his thoughts and concerns, with some internal sequences where he is seen in a black void talking directly to the camera, and a section where he lays on a bed which is eventually imposed over an endless sea. Much of the imagery is to do with the sea, and the visuals are incredibly 'blue' and overcast reflecting the British setting. It is easy to draw comparison between my script and Submarine. Second being a strange influence, but a large one none-the-less. Jaden Smith's SYRE is an incredibly reflective album looking ba...
The rules of dialogue (From 'The Art and Science of Screenwriting' by Phil Parker- It has clear dramatic function (eg. advances the story, reveals character) It relates to the visual aspect of the moment It is character specific It is economical (short and to the point) It reflects the style of the narrative It delivers only what the action and visuals cannot It is speech, not prose After looking at these rules, we analysed extracts from various film scripts such as 'The Full Monty', 'Good Will Hunting' and 'Fargo'. My group focused on the 'Fargo' extract, seeing how the dialogue between Marge and Norm presented their marriage and the state of their relationship. We see it is stale, and had gone on so long that here is no sense of ego or need to entertain one another. They simply exist around one another, with no pressure on their relations. The conversation focuses on Norm's painting rather than the baby or Marge's current poli...
https://www.bing.com/videos/search?q=the+fly+short+film&view=detail&mid=A0C812280605FED6DDE2A0C812280605FED6DDE2&FORM=VIRE After viewing 'The Fly' twice, I overall like the film a lot. It delivers a fast and frantic story, as well as a relatively engaging protagonist and an entertaining structure. The film is solely set in the car of the driver (played by Jack Doolan), parked at the exterior of a bank his follow heist-members are robbing. The scenes are constantly cross-cut, between the hilarity of the drivers encounter with the fly and the panic inside the bank, only heard through muffled shouts coming form inside. We do not see the robbery, and by doing as such the film creates a comic tone while staying on a small budget and not having to choreograph an entire heist sequence. The camera work is mostly steady, maintaining a fairly regular medium shot and uses shots form the exterior of the car when the driver freaks out to show how small the issue truly is and ...
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