Source Code

Source Code (2011)

Director:

Duncan Jones

Writer:

Ben Ripley

Stars:

Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga 

Genre:

Action-thriller

Plot summary: 

A soldier wakes up to find himself in the body of an unknown man and discovers that he will be involved in finding the bomber of a Chicago commuter train. 

Success:

Source Code's estimated budget was $32 million and collected a successful $147,332,697 at the box office. A review by Peter Bradshaw of The Guardian stated that "with twists and turns, and at breathtaking speed, this film runs on rails" which agrees with an other review that similarly described the storyline as one that leaves you on the edge of your seat. Alongside this, the film "aspires slightly to the status of comedy" which is a typical feature of a Hitchcockian thriller.

Trailer:

An effective trailer includes the best action shots of the film to engage the audience's interest without giving too much away and I believe that this trailer succeeds in doing so. The editing rapidly alternates the action shots in order to include every possible scene "with twists and turns" to emphasise Colter's confusion, ensuring that the audience identify him as the protagonist. Other longer shots reveal possible chemistry between Colter and Christina to assure the viewer that there will be some light breaks from the fast-paced action. More use of longer shots include the establishing shot of the urban, cosmopolitan Chicago city skyline. This is used to attract a wider audience by creating a connection with viewers of varying age and background. Despite this, I think that the main target audience will typically be males between the ages of 13-25 because of the action and thrill displayed through explosions and conflict in the trailer.

Opening:



The opening of Source Code begins immediately with Colter waking up disorientated, reacting to every little sound around him which emphasises his confusion. The editing is short and snappy which reflects his state of mind as he attempts to come to terms with his new identity as Sean Fentress. Furthermore, the attention to detail with strangers and left luggage foreshadows his future actions when he finds out that his job will be to find the bomber of the train. Christina who speaks in calming, unintentionally oblivious way, forms the contrast between the two characters which again, further emphasises his confused state of mind.

Behind the Train Scenes:



This clip reveals how Source Code has been influenced by Hitchcock films like Strangers on a Train (1951) in terms of the opening (Colter and Christina meeting for the first time) and North by North West (1959, mistaken identity of an oblivious, victimised man).

Phone Call scene:



A successful thriller allows the audience to take a break from the intense action and thrill. Source Code has provided the viewer with an emotional scene of Colter ringing his dad as Ben Fentress to announce his son's death. Although it remains intense, it allows the audience to detach themselves from the explosions and drama of the action-thriller. The shots are longer than usual, with little dialogue at some points to truly grasp the emotion.

Shooting Schedule: Day 3

Shooting Schedule: Day 2

Group photo during filming:

Conor as Dr. J Smith

George as Rupert Jones

Rebecca as Angela Smith

Title Sequence Order

My film must include the following in this order:

1) A production company Ident followed by a fade in

Examples of studio idents:

The Walt Disney ident is much simpler than Warner Bros and MGM however still remains effective.

2) 'My Production Company' Presents
3) A Film by '*director's name*'
4) Starring/With
5) Star no.1
6) Star no.2
7) Also starring (each on separate title)
8) 3 to 5 of the following (each on separate title)
    Editing
    Music
    Cinematography
    Casting
    Set Designer
    Costume Designer
    Script
9) Producer(s)
10) A Film by '*director's name*' (if preferred)
11) Film title- use LiveType, over black or superimposed over the film

Ensure the audience have plenty of time to read the titles.

Shooting Schedule: Day 1

Shot List

Shot List
Scene	Shot Number	Description
1	1	The opening shot will be a close up of Rupert’s feet approaching his hypnotherapist’s office. This keeps his identity hidden which increases anticipation.
1	2	While gradually moving into a medium shot, the camera will tilt up to reveal Rupert’s full body as he continues to approach the office.
1	3	A close up of Rupert’s anxious face follows as he looks down to the door handle.
1	4	An extreme close up of his hand opening the door further increases tensions as the audience wait for what is to come when he enters the room. It is the first part of the match-on-action shot that will follow. A non-diegetic sound bridge consisting of a clock ticking/pen clicking will merge together the present shot with the following shot for consistency.
1	5	Dr. J. Smith reacts to the sound of the door and looks up from his work. He then abruptly shuts his notepad (as if hiding something) when he notices his patient is entering the room.
1	6	Following Dr. J. Smith’s gaze, we see Rupert completing the action of entering the room (an eye-line match and a match-on-action shot in one). The doctor will say to Rupert, “Take a seat, Rupert. I’ve been expecting you”.
1	7	The fade-to-black represents a passing of time. During this time Rupert has been sat in a chair and Dr. J. Smith is discussing his patient’s current progress in an over-the-shoulder shot. Rupert confesses that his visions have been worsening and the shot reveals Dr. J. Smith ticking a suspicious checklist of Rupert’s symptoms. The over the shoulder shot ensures that the doctor’s face is always concealed which puts attention on his (possible) sinister actions.
1	8	A fade into a close up shot of a glowing candle commences Rupert’s hypnotherapy session. The candle is used to draw a link to the soothing voiceover of Dr. J. Smith putting his patient into a trance. He asks Rupert “In what ways are your... visions worsening?”, to which Rupert sporadically replies in a lethargic slur, “A girl... dark... friend... spying” etc.
2	9	A rapid fade to white presents an over-the-shoulder shot of Rupert spying on the girl he envisions, Angela. The vision is set in a park where Angela is mucking around with a friend in a carefree manner; entirely unaware that she is being watched.
2	10	The shot is repeated but is filmed closer to both Rupert and Angela. The music will intensify at the same time to heighten anticipation- will Angela notice she is being spied on? A glimpse of her stopping and looking over makes it appear as if Rupert’s cover is blown when in fact it is a false alarm.
2	11	This shot shows us Rupert making sure he is pursuing the right person. It is of an eye-line match of him looking down to a torn picture of Angela and a mystery person.
2	12	The image of Angela is shown with a voice over of Rupert saying “that was the day I found her... visions... even worse”. Fade to white into next scene.
3	13	The next shot is a high angle shot of Angela walking down an alleyway; in this shot there is the minimal diegetic sound of footsteps. A high angle shot makes her appear vulnerable and powerless.
3	14	A branch snaps in the next shot this uses diegetic sound. Angela responds to the sound and becomes aware that somebody is approaching her.
3	15	There is a music jump in the next scene as it becomes more intense making the scene more dramatic.
3	16	Angela increases pace as she is frightened.
3	17	Next there is an extreme close up of Rupert’s balled fist to show anger.
3	18	There is a low angle shot first in a direct view and eventually revealing the top half of the body also using a low angle shot. This shot makes Rupert appear more powerful and menacing. The camera then pans as Rupert starts to run.
3	19	The pan in the next shot shows speed and abruptness. This shot shows Rupert chasing Angela.
3	20	A close up shot is shown of Angela’s feet being followed by Rupert’s feet.
3	21	Point of view shot, this also uses Rupert’s voiceover who says, “My cover has blown, the time was right I had to do it, there was no other way.” There is then the sound of Angela’s feet running, using diegetic sound. Angela then pleads, “Please, no.”
3	22	Angela then begins to get tired from running away, there is the sound of panting from running, and Angela gives up and stops running. This shot is a medium shot of the legs and feet.
3	23	The next shot is an over the shoulder shot. Rupert says, “You’re Angela Smith, I’ve heard about you,” as he confronts Angela.
3	24	The next shot is a close up and an eye-line match revealing Angela’s distressed face.
3	25	Angela watches Rupert’s facial expression change into one of sinister excitement and thrill- he is about to complete his task of killing her. At the same time the music intensifies even more to increase anticipation.
3	26	The following action unfolds as the next shot reveals a close, high angle, over the shoulder shot of Rupert’s weapon. The high angle shot applies to Angela to show her vulnerability. The close up of the weapon ensures that the audience know that danger is to come.
3	27	An extreme close up of Rupert tightly gripping onto the weapon is the penultimate point in the build up of Rebecca’s death. We should also include a shot of him flipping it into the air as if playing around with it in order to express his excitement. Using editing, we will slow down the action of the weapon launching up into the air for dramatic emphasis. As it falls back down into his hand we will return to real time.
3	28	Abruptly following this is the first strike- Rupert will pretend to hit Rebecca on the head. As Rupert isn’t actually hitting her, the sound of the impact for this shot will be recorded separately and placed over the film. The diegetic sound will be Rebecca screaming out in struggle.
3	29	A medium shot will reveal Rupert holding the bloody weapon with a crazed expression.
3	30	He strikes again with the bloody weapon, this time he manages to murder her.
3	31	A close up of his face reveals an expression of complete satisfaction.
3	32	The following shot is an eye-line match of Rupert looking down to the picture of Angela one last time. Angela lies dead on the floor in the distance with blood surrounding her.
3	33	A close-up shot of the picture shows George with a lighter about to burn the picture. This action represents the death of Angela Smith.
3	34	The burning picture is placed onto the ground by Angela’s corpse.
3	35	A shot of the burning picture on the ground by Angela’s corpse is the last of Rupert’s visions.
3	36	Black screen. Voiceover of Dr. J. Smith in the present: “This session is almost over Rupert, wake up now...”.
4	37	There is a close up shot of Rupert’s face as he wakes up.
4	38	The close up is continued into the next shot which introduces a murderous and forceful side to Dr. J. Smith as he injects Rupert with a suspicious substance. Rupert, who is slowly returning to normality, cries out, “What are you doing? Why are you doing this?” etc
4	39	Medium shot of a picture almost identical to the one Rupert used in his visions except it is an intact copy in a frame on the doctor’s desk.
4	40	Close up of the picture in the frame.
4	41	Rupert connects the two together says, “That’s you…that’s her!” The music rises in this scene- followed by the film title.

Costumes and Props

Character Name:	Angela Smith
Costume: Casual appearance (to make audience question why Rupert is targeting her, she is simply an oblivious civilian at first) Casual Button Shirt (white during the murder scene to contrast with Rupert's black jacket to make her appear vulnerable) Trousers/jeans  Shoes/trainers	Props: Phone Rucksack
Character Name:	Dr.  Jeremiah Smith
Costume: Dark, smart suit Shirt and tie Glasses	Props: Clipboard Notes about patient ('progress sheet' which will make the story line clearer) Photo frame with picture of Dr. Smith and Angela Smith (to make the story line clearer) Desk Pen Clock Sign on office door 'Dr. Smith (Hypnotherapist)' Syringe Candle (hypnotherapy)
Character Name:	Rupert Jones
Costume: Scenes in therapists office: Grey trousers Smart, black leather shoes Blue raincoat (brings in disorder to suit troubled mindset) Action scenes (the visions): Smart black jacket Suit trousers Smart, black leather shoes	Props: Chair  Antibacterial Gel  Eye Test  Briefcase for action scenes (the visions) Fake blood Weapon (large rock)

Risk Assessment

Group Members: Saana, Rebecca, Connor, George           

Locations: Study room, alley way, Central Park

Hazard	Person(s) at Risk	Likelihood of Hazard 1 – Extremely Unlikely 5 – Extremely Likely	Severity of Hazard Outcomes 1 – Very Low Risk 5 – Very High Risk	Risk Level (Likelihood + Severity) 2	Measures to Take to Manage Risk	Risk Managed? Y/N
Falling into the road and getting run over by a vehicle	Rebecca George	1	3	2	Must be cautious when filming near roads and try to choose less busy roads to film on.	Y
Slipping on wet, rainy surface while running during an action shot	Rebecca George	2	1	1.5	Check the weather forecast and film outside scenes on dry days.	Y
Alley way, dangerous objects causing a hazard may not be seen if it is dark	Saana Rebecca Connor George	1	1	1	Make sure there is enough lighting	Y
Candle, could get knocked over and cause a fire (scene 1). Match/lighter when burning picture (scene 3)	Saana Rebecca Connor George	2	2	1	Extinguisher near by	Y

Contacts

Emergency Service:            
Robert Clack School:            
Other Contacts:           

Collateral

 

 

Collateral

Genre: Crime Thriller

Director: Michael Mann

Cast: Tom Cruise as Vincent

         Jamie Foxx as Max

Writer: Stuart Beattie

Max, an innocent cab driver, finds himself held hostage by a sociopathic contract killer, during his working hours in LA. He must find a way to save both himself and the killer's last victim.

Film poster:

Tom Cruise was one of the most well-known actors during the time of Collateral's release and so using a close-up image of his face would attract a large audience. The shallow depth of field makes his character appear powerful. Also the deep shadows produced reveals that he will play the role of a villain in this film.

Success:

• US and Canada release date: August 6, 2004
• Grossed approximately $24.7 million on its opening weekend
• Ranked #1 at the box office
• Total worldwide gross of $217,764,291

Trailer:

The beginning of the trailer misleads the audience to think that the film will be a romance. A romantic mood is created through the following features:

- The soft, dream-like feel created through the black and white studio ident

- The slow editing typical of a romance 

- The warm orange glow through digital filming

- The soulful non-diegetic music used as the soundtrack acting parallel to the carefree and content mood 

However, soon after the atmosphere changes into an ominous one when Vincent, the killer, appears with a briefcase and a large sum of money. The skyline shot of the city is suggestive of crime and corruption which prepares the viewer for the film's action scenes. The amount of cuts between shots increases to heighten the audience's anticipation as the best action scenes flood the screen.

Digital camera

Mann used the Viper Film Stream High-Definition Camera to film some scenes of Collateral, a first for a major motion picture.

Briefcase scene:

As the men approach, we see that one wears lighter colour so that we are mistaken to think they will help Max. However, the remaining three men wear black which foreshadows the inevitable danger. Their true intention was to steal Vincent's briefcase with the vital details about his victims. Additionally, Max's vulnerability is truly revealed in this scene which implements a Hitchcockian theme - an ordinary man who finds himself tied up in unfortunate circumstances. It also reveals that we shouldn't underestimate Vincent, who fights back against two of the men single-handedly.