Wednesday, February 12, 2014

Screenplay within Juno




Women in Hollywood are underrepresented in many parts of the entertainment industry. One of those parts includes screenwriting. This means that it is harder to come by a movie that accurately depicts the work of a woman. To just put it into perspective, I found a stunning statistic taken from the "Women's Media Center" stating that in 2012, "women comprised only 18 percent of key behind -the-scenes roles in films -- a figure that has risen a mere 1 percent since 1998." When I saw how little women play a role in the making of a movie it was heartbreaking. How does Juno fit in?  "Juno" is not like most movies. A woman named Diablo Cody wrote it.

            Diablo Cody is one of the few women screenwriters that has made an impact in the industry. Screenwriting is not an easy role to pursue.  The screenwriter is "responsible for coming up with the story, either from scratch or by adapting another source.... (Barsam and Monahan [Page 136]). The screenwriter not only has to create the narrative structure but develop every prominent character throughout the movie. (Not to mention the fact that in the case of Diablo Cody, she had to write a screenplay that would appeal to the director, actors, and most importantly the viewers.) The screenplay is what makes a movie; you could say it is the foundation of the movie itself.  In other words, a good movie has never come out of a bad screenplay.

            On that note, Diablo Cody did an amazing job on the screenplay with "Juno". The dialogue was fun and quirky; the characters strong and witty. Juno, the protagonist, has a smooth transformation from beginning to end. She starts off as hard and alienating in the beginning, but as the movie progresses the audience is able to see Juno in a new light, one of strength and maturity. Another prominent theme within Cody's writing is her sardonic spirit. Juno, though facing an unwanted pregnancy, is still cracking sarcastic comments as if they were breathing exercises. These sarcastic lines are what really drew me to enjoy this movie. Cody was able to easily blend together the humor and seriousness of the protagonist’s situation to produce a heartfelt comedy. I was able to relate to Juno’s sarcasm.  Here is one of my favorite lines: "I'm just gonna go ahead an nip this thing in the bud. Cuz you know, they say pregnancy often leads to, you know... an infant." To put it simply, Juno is successful due to the screenplay.  A screenplay written by a woman. 

            In my opinion, the screenplay is the most important aspect of any movie. If it wasn’t for the quirkiness and development of the characters in Juno, the film would not have succeeded as much as it did. Diablo Cody’s writing flows naturally through the movie and the natural progression of the characters allows the audience to relate well to them. I guess what I am trying to say is by its’ end we've gotten to know these characters so well that they feel like family. Cody’s script was brilliant for it balanced heart-tugging moments, comedy, sarcasm, and so on, and yet keeps the movie from being too dark or too cute. She nailed it.       

            On a side note, while doing research on the lack of female screenwriters, I found that Will Ferrell is starting a new production company. To be specific, Will Ferrell is launching a new female focused film and TV production company. The new company, "will work with established and emerging female voices to develop content" (Siegel). I find this really neat; Will Ferrell is forming a new female-driven division. It's progress within the industry, finally.


Works Cited
Barsam, Richard, and Dave Monahan. Looking at Movies. 4th ed. New York: W.W. Norton, 2013. Print.

Brotter, Cody. "The Significance Of The Screenplay." Student Pulse. N.p., 2010. Web. 12 Feb. 2014. <http://www.studentpulse.com/articles/172/the-significance-of-the-screenplay>.
Juno. Dir. Jason Reitman. 2007. Fox Searchlight, 2008. DVD.
Scott, A. O. "Juno (2007)." The New York Times: Movies. New York Times, 5 Dec. 2007. Web. 12 Feb. 2014. <http://www.nytimes.com/2007/12/05/movies/05juno.html>.
Siegel, Tatiana. "Will Ferrell Launches Female-Focused Film and TV Production Company." The Hollywood Reporter. Hollywood Reporter, 12 Feb. 2014. Web. 12 Feb. 2014. <http://www.hollywoodreporter.com/heat-vision/will-ferrell-launches-female-focused-679716>.
Zeilinger, Julie. "Sexism in Hollywood: Female Screenwriters Far Less Likely to Sell Speculative Screenplays than Men." Huffington Post: Women. Huffington Post, 24 June 2013. Web. 12 Feb. 2014. <http://www.huffingtonpost.com/2013/06/24/sexism-in-hollywood-female-spec-screenwriters_n_3491022.html>.



Wednesday, January 22, 2014

Lighting Techniques: The Matrix



Lighting usually goes unnoticed or neglected when we view films, or at least in my opinion I have never realized how much importance lighting is within films. Lighting is a crucial component of a film’s visual design and serves all different purposes. It sets the tone of specific scenes, can surface emotions with the audience, and is able to easily manipulate the audiences’ response to certain characters.  One film that uses all three of the purposes listed above is The Matrix directed by Lana and Andy Wachowski. For those who are crazy enough to have not seen this spectacular movie let me give you some insight. To start, the protagonist, Neo, is contacted by a group of freedom fighters or enlightened individuals who inform Neo that the reality he has come to understand is just a simulation called the Matrix. The Matrix hides the truth from humanity and the freedom fighters believe that Neo is “The One” who will be able to expose the truth and overthrow the machines. The movie conveys Neo’s journey of overthrowing the machines and accepting his role as “The One”. Yet, this movie would lose its overall message and “badass” feel if the lighting were not utilized in the manner it was. A prime example of the lighting techniques began with the opening sequence of the movie. I shall break down the sequence to prove my point.

The first scene opens on a group of policemen gathered in an untidy, dark hallway. Their bright flashlights contrast with the discouraging colors seen in the corridor. This contrast creates a certain tension and uneasiness. The policemen close in on one of the room’s located in the hall. Once they kick in the door the lighting changes. The room they enter would be pitch black if it were not for the flashlights the cops carry in their hands. As explained in the article, “The Matrix a Review of Directing Techniques” the flashlights create silhouettes of the cops which in contradiction of the clearly present Trinity makes the cops look vulnerable or inferior to her. Just based on the directors’ use of lighting the viewers get the feeling that Trinity is in control of the situation at hand.

 The next scene picks up speed as Trinity is trying to escape from the agents. Many lighting techniques are in play here as well. One of the harder instances of lighting is the “side lit” technique used on Trinity’s face. Below is a picture of Trinity with the side lit technique in action. One can clearly see that half of Trinity’s face appears brighter than the other side. I interpreted this as a way to symbolize Trinity’s double life, her life in the Matrix and in the real world.

"Side Lit"


Another lighting detail that is continuous throughout the movie is the emphasis on the colors green and blue. An article that expanded my view and thoughts on the significance of color within The Matrix was “Why You Truly Didn’t See The Matrix” which broke down the usage and significance of the colors employed in the movie, especially green.
These colors are prominent in the movie to distinguish between the Matrix and the real world. In the Matrix, there always seems to be an overlying green tint that the viewer sees, yet when the characters transition back to the real world that green tint disappears and a blue tint comes into affect. Blue can represent many things to a person, but the directors made sure to use this color to portray the real world as bleak, harsh, and unglamorous.


"Matrix Green Tint"

"Real World BLue Tint" 


Without the use of lighting and color in The Matrix the movie would lack meaning and character development. The audience would less likely be able to follow or even have interest in the plot line for lighting ties the sets and the scenes together. 

Works Cited
Barsam, Richard, and Dave Monahan. Looking at Movies. 4th ed. New York: W.W. Norton, 2013. Print.
Kennedy, Matt. "The Matrix a Review of Directing Techniques." Entertainment Scene 360. RR Donnelley, 20 Jan. 2007. Web. 21 Jan. 2014. <http://www.entertainmentscene360.com/index.php/the-matrix-a-review-of-directing-techniques-32924/>.
"Lighting." Film Reference. Advameg, 2007. Web. 21 Jan. 2014. <http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Lighting.html>.
The Matrix: Trinity Escapes. Youtube. LLC, 14 Apr. 2010. Web. 21 Jan. 2014. <http://www.youtube.com/watch?v=u31OjOPF-ZI>.
Twedt, Chad. "Matrix Resolutions." Matrix Resolutions. Fundamentals Web Design, n.d. Web. 21 Jan. 2014. <http://www.matrixresolutions.com/index.html?page=colors>.
Wachowski, Andy, and Lana Wachowski, dirs. The Matrix. 1999. Warner Bros., 2004. DVD.
"Why You Truly Didn't See The Matrix." The Latest Reviewer. WordPress, 6 Dec. 2012. Web. 21 Jan. 2014. <http://thelatestreviewer.wordpress.com/2012/12/06/the-matrix-hidden-messages/>.