Aim of my Short Film

With my short film, I am focusing on two main objectives. The first is the use of non-diegetic voice over. In addition to film making, I am also aiming towards voice acting so combining the two helps expand these skills. As a result, more than half the film is told through a narration that is played over the footage. I touched on this in my last page, but 'Sin City' was the first film I watched since coming to Plymouth which is my it was fresh in my mind when we were assigned the task. While it is less common in the classic noir age, that the likes of John Alton were around, to use voice over, 'Sin City' made it very apparent with the abundance of voice over from all three protagonists. So outside influence as well as aspiration led to my choice of voice over focus.

I am also aiming to challenge myself and create characters and a narrative within the running time we have been assigned. I personally feel that a good film can be defined by its characters and narrative in addition to how it is presented. With this mindset, I have set out to make the characters diverse and appealing, hence why I'm giving the protagonist a specific voice that I manufactured. As the script is finished now, it will be more of a challenge in editing to narrow what I have planned down to the time limit and, as I feel editing is my weakest area, it will be good practice that will hopefully allow me to develop my editing skills as opposed to focusing on the 'on-set' production.

Short Film Idea Origin

Opening voice over from 'Sin City' (Robert Rodriquez, 2005). 

'Sin City' acted as my main inspiration for my short film. This clip specifically. The main focus of my project was the use of voice over that bookends the film. My protagonist, Detective Matthews (whose name is derived from Eric Mathews from 'Saw II' as I felt the contrast of the gritty and horrific 'Saw' films and my film which is focused more on the absurdity of having a gritty, noir-esque character in normal society), delivers the voice over in a way inspired by Bruce Willis' character Hartigan in 'Sin City'. The voice that I use, as I play Matthews' is more based on a combination of Mickey Rourke's character Marv and Michael Madsen's character from the video game adaptation of 'The Walking Dead'. Michael Madsen himself is in 'Sin City' which is where I drew the comparison from as well as past experience. Due to a very bad illness in early September, my voice was stuck in a low, coarse voice that instantly reminded me of Michael Madsen's Carver from 'The Walking Dead'.

Michael Madsen voicing Carver in 'The Walking Dead: Season 2' (Telltale Games, 2014)

'Sin City' also inspired the look of my short film too. From the content on screen to the mise en scene and style. Matthews' having a long coat was picked to pay homage to the classic trenchcoat that is iconic of the genre as well as match with those scene in 'Sin City' as seen in the clip at the top. In fact, the genre and 'Sin City' made me decide on black and white too. 

Short Film Script 'Misplacement'

EXT. STREET - NIGHT

DETECTIVE MATTHEWS, a man wearing a dark long coat and hat, is walking down the street, performing a monologue in his head.

MATTHEWS (v.o)

If you were to ask me, I'd say this city is full of scum. Crime around every corner, citizens in distress...makes me sick.

MATHEWS continues walking towards his destination, coat trailing behind him.

MATTHEWS (V.O)

Of course, everyone else keeps telling me I'm talking bullshit. They say this is actually one of the safest cities out there. Not the way I see it.

MATHEWS stops and rummages around in his coat pocket. His voice over sighs.

MATTHEWS (V.O)

Look, I'll be honest with you. I'm not that good at the whole monologue thing. I'm just doing it because all those films do it. I'm don't even know what to say.

He pulls out a pack of cigarettes and pulls one out like he's about to smoke it.

MATTHEWS (V.O)

I don't even smoke! Look at this schmuck!

He throws it down to the ground and looks up.

MATTHEWS (V.O)

Ah well...I guess the sky looks nice.

He goes back to walking.

EXT. HOUSE - NIGHT

MATHEWS walks up the path and barges into the house.

INT. HOUSE - NIGHT

He enters the lounge where three other people are.

MATTHEWS

Alright, I'm here thank to that murder call. I've already been filled in, so...whose gonna own up?

The three people look at each other in confusion.

MATTHEWS

Come on, it makes my job easier if you just own up

.

MARTHA

Er, there wAs no murder

MATHEWS scoffs

MATTHEWS

I have on record that someone was murdered on this property.

MARTHA

...do you mean the fish?

MATHEWS pauses

MATTHEWS

...what?

HAROLD

Yeah, you see I just overfed the fish, bless his little soul.

MATHEWS continues to be in deep thought and then snaps his fingers and points at HAROLD.

MATTHEWS

So you admit that you killed the victim.

HAROLD

I..I suppose...technically

MATHEWS walks by and grabs HAROLD by the shoulder, pulling him out of the house with him

MATHEWS

Right! Good enough!

EXT. HOUSE - NIGHT

MATHEWS walks out the house grasping HAROLD's shoulder while the others gather at the door.

HAROLD

Don't worry! I'll be fine!

MATTHEWS begins to monologue in his head again. As he does, HAROLD kicks him and begins to run off with MATTHEWS in pursuit.

MATTHEWS (V.O)

I'll be damned. Crime...disgusting. This little punk thinks he can get away with murder. Absolutely disgraceful. As long as I'm in around, these streets will be scoured clean of filth like this.

CUT TO BLACK

MATTHEWS (V.O)

Hey, I'm getting the hang of this monologue thing.

THE END

Script rewrite

UNKNOWN SCRIPT SEQUENCE

EXT. DAY. ALCATRAZ

A tourist boat approaches the island as we hear people talking on the boat.

CUT TO:

INT. DAY. TOURIST BOAT. SAN FRANCISCO BAY

FRANK, now looking older and grizzled, is leaning on the stern of the boat, gazing at Alcatraz as he reminisces about his time there.

EXT. NIGHT. ALCATRAZ

Flashback, 1962. FRANK, wearing a prisoner uniform, breaks through a vent on the outside while we hear guards in disarray. He makes his way to the cliffs and sees guard’s torches approaching. FRANK is forced to dive into the sea and swim back to the main land.

INT. DAY. TOURIST BOAT. SAN FRANCISCO BAY

Back to present day, a wearing a suit is watching FRANK from the bow while smoking. Before he can make contact, FRANK begins to head towards the top deck of the ship. The man flicks his cigarette into the sea and makes his way upstairs.

INT. DAY. TOP DECK. TOUR BOAT

FRANK scans Alcatraz to see that not much has changed since his escape from incarceration. His focus shifts when he hears the man from earlier approach him and leans on the edge with FRANK.

                            AARON:

  First time on the tour?

FRANK doesn’t face AARON but instead ignores him.

                            AARON

                         Yup, I’ve been on this tour loads of times.

           

                            FRANK

                         Gets boring after a while.

AARON turns to FRANK and stares intensely at him. After a moment of silence, FRANK responds.

                            FRANK                

FRANK            Listen kid,

Before FRANK can finish the captain on the intercom announces that they have arrived.   

 

EXT. DAY. ALCATRAZ

The boat reaches the ferry terminal and FRANK prepares to get off.

                            AARON

                          93,000

FRANK stops and turns around.

                            FRANK

                          What?

                            AARON

                          Money, FRANK. 93,000 Dollars.

FRANK’s face grows a smirk as he works out who AARON is.

                           

                    FRANK

                          CLARENCE put you up to this, kid?

He chuckles to himself before AARON hands him a card with an address and phone number on it. FRANK checks it to confirm it was what he was after. AARON looks quite sheepish now that FRANK is onto him. He gestures to the card.

                            AARON

                         Was that worth the money?

FRANK sheaths the card into his coat pocket chuckling again.

                            FRANK

                         Trust me kid, I’m getting more for my money.

EXT. NIGHT. STREET, SAN FRANSICO

FRANK walks up to a phone booth and steps inside

INT. NIGHT. PHONE BOOTH

FRANK pulls the change out of his pocket and puts it into the coin slot and punches in the number on the card.

INT. NIGHT. SHEILA’S HOUSE - LOUNGE

A phone on the wall starts ringing as WOMAN 1 quickly picks up the phone.

                            SHEILA

                 Hello?

                            FRANK (voice over phone)

                 Figured that you could do better than CLARENCE

SHEILA freezes as FRANK’s voice hits her ears.

                            FRANK (voice over phone)

                 Might want to sit tight. I’m on my way.

SHEILA throws the phone down and starts panicking.

EXT. NIGHT. STREET

FRANK puts the phone down and steps out of the phone booth. He then proceeds to hail a cab.

INT. NIGHT. SHEILA’S HOUSE – LOUNGE

CLARENCE enters the lounge from the bathroom to see WOMAN 1 distressed. He contemplates what to say before surmising.

                      

CLARENCE

            You’d think after 3 years, he’d let up.

SHEILA tries to embrace him but he instead heads towards to door.

                            CLARENCE

                   Lock up and keep out of site.

I          I’ve got to meet some people.

CLARENCE exits and walks down the path towards his car.

EXT. NIGHT. WHARF, SAN FRANCISCO

AARON is walking along the docks as he receives a message on his phone. He turns around and starts walking towards the city, whistling as he does.

INT. NIGHT. TAXI

FRANK is sitting in back in silence as he stares out the window.

                           

                    DRIVER

                    All right pal, end of the line

FRANK’s hand fumbles in his pocket and pulls out some money. In a rush, he doesn’t bother to worry about change

                            FRANK

                    Keep the change.

FRANK leaves the cab and moves quickly towards the house.

INT. NIGHT. SHEILA’S HOUSE

SHEILA hears FRANK try to force the door open and heads for the kitchen.

EXT. NIGHT. SHEILA’S HOUSE

FRANK manages to break the lock but before he can make it to the kitchen a car pulls up. FRANK turns around to see AARON step out and head up the path.

           

                            AARON
                     Thank you very much!

                                    FRANK
                             What?

While AARON and FRANK talk, SHEILA attempts to sneak out while they argue however, mid sentence, AARON pulls out a gun and shoots her. FRANK is initially stunned and proceeds to force AARON against the wall and breaks his wrist, snatching the gun and shoving it in his coat pocket.

                

                            FRANK

                     You idiot! I wanted her alive.

                            AARON

                     Hey! Hey! We weren’t even in cahoots.

                     I mean, you didn’t even recognize me!

                     Although…he did.

FRANK looks confused and follows AARON’s eyes to see where he is looking. As he does, a bright light aims at FRANK forcing him to squint at the silhouette standing in front of the car headlights emitting the light.

                            CLARENCE

                     Figured you'd think to stay away, Franky.

CLARENCE steps towards the house as FRANK throws AARON to the side onto his wrist, causing him to wince in pain. FRANK turns towards CLARENCE and starts pacing towards him. CLARENCE also starts pacing towards FRANK as AARON watches SHEILA bleed out. As they prepare to fight, opening with FRANK throwing a punch at CLARENCE, he is cut short by a stabbing sensation to the stomach. He sees that CLARENCE as thrust a knife into him as he staggers back in pain.

                

                       FRANK (weakly)

                     Shouldn’t have sent an armed henchman

While CLARENCE is left perplexed, FRANK nonchalantly pulls out AARON’s gun and shoots CLARENCE in the head. AARON walks towards FRANK.

                       AARON

                     Hey, uh, you need an ambulance or something?

FRANK turns his head to look at him and shakes his head before wandering off down the street as police sirens are heard in the distance.

Short Film Proposal

For my short film idea, I drew influence from the likes of ‘Kiss Kiss Bang Bang’ and ‘Sin City’. The reason for such a strange mix of tone (Kiss Kiss Bang Bang’s comedy and Sin City’s gritty look) is based on the content of my film. It’s set in a gritty, crime ridden town where the inspiration from ‘Sin City’ is brought in yet the protagonist borrows more from ‘Kiss Kiss Bang Bang’. The parallel’s come from his position and job. Detective Mathews is a cop brought into a murder case and, while his voice and stoic attitude borrows from Bruce Willis’ performance in ‘Sin City’, his deadpan performance and lack of real understanding of his job comes from Harry Lockhart from ‘Kiss Kiss Bang Bang’. I thought it would be interesting to see a character like him actually be given a professional role in the world of crime prevention rather than just being on the side lines.

It plays back the cliché idea of having the murderer be among the people in the room however, instead of a long investigation, it works with the unexpected and has the murderer cave into their guilt and unceremoniously solve the case. The juxtaposition between the style and content is what drove me to want to make the film. Detective Mathews, as the protagonist, starts off the film with a parody of internal monologues that the three protagonists of ‘Sin City’ deliver throughout the course of the film. The aim of this is to point out the overuse of the cliché in such films as ‘Watchmen’ which also fits within the crime genre.

In terms of filming style and effects added in post-production, the film would be black and white for two reasons. One is to capture the look of the film noir genre such as ‘Strangers On A Train’ as well as the strong presence of shadows similar to the works of John Alton (for example ‘The Big Combo’). I looked at John Alton because he was a pioneer of cinematography in the noir genre which seemed perfectly fitting for what I was planning. Looking at his work also inspired me to try and recapture some artistic looking shots that he has used in his films with the likes of ‘He Walked By Night’ coming to mind.

To conclude, my film takes its style and film techniques from the Noir genre, specifically the cinematography works of John Alton, and combines it with a more comedic edge with the idea of broadening the style of ‘Kiss Kiss Bang Bang’ with a bit of ‘The Naked Gun’ in because of the similar profession and running on the idea of giving power to bumbling people. The shots would draw influence from the look of other films in the same genre as well as using actor, prop and camera positioning to foreshadow who the murderer is. This will also play into the comedy aspect with the murder itself being very anticlimactic to the point that it wasn’t even a person killed, similar to ‘The Simpsons’ episode ‘Bart of Darkness’ which is shot like an Alfred Hitchcock film, specifically ‘Rear Window’, to make it seem like Ned Flanders is a murderer despite it turning out that it was just a plant.