Hey Guys,
Got a new film up on You Tube - thought y'all might wanna have a look - please give back any feedback, good or bad - I've entered this into the BBC Talent competition, and just need to know if there's anything that I can do to make it better. I know you guys have a good eye when it comes to these types of things, so have a little look and tell me what ya think.
http://www.youtube.com/watch?v=xbWiFwKDap4
New Movie: ISO 7810 online
Moderator: Moderator Team
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DarkElastic
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RE: New Movie: ISO 7810 online
That was excellent, I really enjoyed it.
The story was good.
The script was excellent.
The shots varied.
Acting was great.
Editing was good.
Lighting was good, mostly, (But I think the problems were more to do with the quality of the youtube video).
I could not see any real bad points other than the story ends with no real ending. But you could argue it leaves us with questions we can all answer in our own interpretations of the story.
Excellent film, I give it 9 out of 10. Well done.
The story was good.
The script was excellent.
The shots varied.
Acting was great.
Editing was good.
Lighting was good, mostly, (But I think the problems were more to do with the quality of the youtube video).
I could not see any real bad points other than the story ends with no real ending. But you could argue it leaves us with questions we can all answer in our own interpretations of the story.
Excellent film, I give it 9 out of 10. Well done.
O. M. G.
Orkney Movie Group
www.orkneymoviegroup.co.uk
Orkney Movie Group
www.orkneymoviegroup.co.uk
RE: New Movie: ISO 7810 online
Nice work!
My only problem with it was the dodgy filter you added to everything. The overexposednessness (especially with the first shot, but it re-occurs) would be deemed unacceptable for broadcast. Probably.
Other than that, really enjoyed it! Can't believe you have Russell Crowe in it too
(I did a double take with that shot of the guy lying on his back!)
My only problem with it was the dodgy filter you added to everything. The overexposednessness (especially with the first shot, but it re-occurs) would be deemed unacceptable for broadcast. Probably.
Other than that, really enjoyed it! Can't believe you have Russell Crowe in it too
(I did a double take with that shot of the guy lying on his back!)[url=http://www.youtube.com/watch?v=loFABl-1Zcw]THE SALESMAN - YouTube[/url]
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DarkElastic
- Posting Freak
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- Location: Orkney
RE: New Movie: ISO 7810 online
hahahahahahaha
I totally I agree. I wondered where I recognised him.
I totally I agree. I wondered where I recognised him.
O. M. G.
Orkney Movie Group
www.orkneymoviegroup.co.uk
Orkney Movie Group
www.orkneymoviegroup.co.uk
My beard was a little too hair that day, and for some reason my hair seemed to go that way too! Cheers for the feedback though; the filter I used for the flashback sequence was used to show the surrealness of the situation, but when it comes back to the interrogation part there's no filter used.
Cheers again guys.
Cheers again guys.
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Kentertainment
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Very nicely done, I loved it.
My suggestions would be:
1. When sitting in the yard it sounds like the birds are having seizures, if that was a sound effect I'd suggest slowing it down or making the whistles farther apart...if not, crazy birds.
2. There is a low angle of a car and the wind makes the audio fuzzy...I suggest going and recording a sound effect for that...maybe just a car engine.
3. The exposure is very high at moments.
The lighting in the interrogation scene was lovely I might add.
Great job! Keep them coming.
My suggestions would be:
1. When sitting in the yard it sounds like the birds are having seizures, if that was a sound effect I'd suggest slowing it down or making the whistles farther apart...if not, crazy birds.
2. There is a low angle of a car and the wind makes the audio fuzzy...I suggest going and recording a sound effect for that...maybe just a car engine.
3. The exposure is very high at moments.
The lighting in the interrogation scene was lovely I might add.
Great job! Keep them coming.
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Lawriejaffa
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- Posts: 709
- Joined: Sun Jul 24, 2005 6:38 pm
Hmmmmm
Well this is pretty good in parts but there are elements of a technical and creative nature that I think limit this films potential.
From the technical perspective, there are several shots where the exposure is blown out, and the filters applied in post are well, distracting.
The greatest victim technically is sound, which (while the dialogue is relatively clear!) the other sounds seem comparitvely amatuerish (to the rest of the films strengths.) ie. sounds for example, of the car, of wind blowing against mics etc.
Creatively the film has limitations too however. Now its greatest strength is the *ahem* twist, but the problem with playing against subverting cliches (to establish twists) is that if the twist occurs at the end - it does mean that until u get there, people sitting watching are thinking oh... 'this is so 1984 richard burton & john hurt' or this interrogater is sooo 'Agent Smith of the Matrix' with his (camp performance)
Lighting is a little flat in the interiors also. While the premise and criticism of id cards (and its orwellian overtones from the start) is pretty 'standard fare' in british culture.
So in some regards, im suggesting that while technically 'competent' for the most part, that creatively your film is a little like a 'one trick pony' which is great for the statement it makes... problem is the statement is to the cynic, fairly obvious, and comes at the end of a few too many cliches.
Well this is pretty good in parts but there are elements of a technical and creative nature that I think limit this films potential.
From the technical perspective, there are several shots where the exposure is blown out, and the filters applied in post are well, distracting.
The greatest victim technically is sound, which (while the dialogue is relatively clear!) the other sounds seem comparitvely amatuerish (to the rest of the films strengths.) ie. sounds for example, of the car, of wind blowing against mics etc.
Creatively the film has limitations too however. Now its greatest strength is the *ahem* twist, but the problem with playing against subverting cliches (to establish twists) is that if the twist occurs at the end - it does mean that until u get there, people sitting watching are thinking oh... 'this is so 1984 richard burton & john hurt' or this interrogater is sooo 'Agent Smith of the Matrix' with his (camp performance)
Lighting is a little flat in the interiors also. While the premise and criticism of id cards (and its orwellian overtones from the start) is pretty 'standard fare' in british culture.
So in some regards, im suggesting that while technically 'competent' for the most part, that creatively your film is a little like a 'one trick pony' which is great for the statement it makes... problem is the statement is to the cynic, fairly obvious, and comes at the end of a few too many cliches.
Cheers for the input guys,
Kentertainment - I understand about the birds in the background; they were a sound effect added at the last moment and someone else picked up on the fact that they were going a little crazy.
Regarding the sound with the low angle of the car, I personally felt that the wind blowing into the mic created a parralell between the silence when O'Brien was walking and the importance of the car pulling up to him.
The exposure was high, and purposely done so. This was meant to make the interrogation scene more significant in terms of lighting and perspective and give the flashback sequence a little of its own originality. I appreciate your feedback though, and may go back to the original and tweak a few things with it.
Lawrie -
Sorry if the glow effect that was used distracted the piece. I purposefully used that to signify the event that was happening, and I did try looking at the shot with the glow effect with lesser input - but in my opinion it didn't give off the same effect.
The whole point was to pay homage to the Richard Burton/John Hurt scene from 1984 - (The guy's name IS O'Brien, after all...) my message with the whole ID card thing was to create a dystopic vision of a possible scenario coming from the National Identification Register...you may laugh to think that our Government wouldn't play into such a cliched role, and I understand your statement about the use of cliches in the film, however I have to argue that a lot of that has already happened, in real life which also inspired me to make this film. I don't know if you're british yourself, and if you are you'll know the story of Jean Charles de Menezes, the innocent Brazillain man who was shot 8 times underground as he thought to be a 'suspected suicide bomber.'
If that's what our police force are doing now, my point was to simply say - 'hey, so what if ID cards come into power...you think that will really stop terrorists?' You may not like the 'twist' at the end, and to be honest, I didn't plan for it to be a major plot twist or anything - it was simply put there at the end to state that maybe, just maybe, our Government will have more power over our basic human rights than they do at the moment.
I don't agree with your statement about it being a 'one trick pony' - although I understand where you're coming from. Usually I tend to stay away from films that have a particualr 'message' or 'point', but there was no way that I could do this film without there being some sort of opinion on the matter. Do I opt to go for the optimistic, more than likely inevitable outcome of the future of ID cards? If I did that, I wouldn't have had much of a film...so instead, as you say, I went for thre more cynic, bleak viewpoint.
The point is - I wanted to make a film about the dangers and the possibilities about the fruition of ID cards in British society. If I had longer (the competition alows only 10 minutes) I would've made the scene more 'cracker-esque' and had the N.I.R. agent break O'Brien's spirit before he confessed. Alas, I only had the time to make the thing flow to a point where the NIR agent comes out with the phone. I don't think the statement that's being made is fairly obvious, as I said earlier - the main inspiration was the underground shoorting of an innocent man, but also I hope the piece leaves you thinking about other things, such as the Camp X-Ray and other people wrongfully accused of something they didn't commit. I was also inspired by the Kafka story, "The Trial", and wanted to put across the message of someone being wrongfully imprisioned for a nameless crime.
If you feel though, that there were too many cliches and it was too predictible, then fair enough - I value your opinion though. I appreciate your criticisms and that's exactly why I posted the link to the movie here - I wanted to get opinions from all perspectives.
Kentertainment - I understand about the birds in the background; they were a sound effect added at the last moment and someone else picked up on the fact that they were going a little crazy.
Regarding the sound with the low angle of the car, I personally felt that the wind blowing into the mic created a parralell between the silence when O'Brien was walking and the importance of the car pulling up to him.
The exposure was high, and purposely done so. This was meant to make the interrogation scene more significant in terms of lighting and perspective and give the flashback sequence a little of its own originality. I appreciate your feedback though, and may go back to the original and tweak a few things with it.
Lawrie -
Sorry if the glow effect that was used distracted the piece. I purposefully used that to signify the event that was happening, and I did try looking at the shot with the glow effect with lesser input - but in my opinion it didn't give off the same effect.
The whole point was to pay homage to the Richard Burton/John Hurt scene from 1984 - (The guy's name IS O'Brien, after all...) my message with the whole ID card thing was to create a dystopic vision of a possible scenario coming from the National Identification Register...you may laugh to think that our Government wouldn't play into such a cliched role, and I understand your statement about the use of cliches in the film, however I have to argue that a lot of that has already happened, in real life which also inspired me to make this film. I don't know if you're british yourself, and if you are you'll know the story of Jean Charles de Menezes, the innocent Brazillain man who was shot 8 times underground as he thought to be a 'suspected suicide bomber.'
If that's what our police force are doing now, my point was to simply say - 'hey, so what if ID cards come into power...you think that will really stop terrorists?' You may not like the 'twist' at the end, and to be honest, I didn't plan for it to be a major plot twist or anything - it was simply put there at the end to state that maybe, just maybe, our Government will have more power over our basic human rights than they do at the moment.
I don't agree with your statement about it being a 'one trick pony' - although I understand where you're coming from. Usually I tend to stay away from films that have a particualr 'message' or 'point', but there was no way that I could do this film without there being some sort of opinion on the matter. Do I opt to go for the optimistic, more than likely inevitable outcome of the future of ID cards? If I did that, I wouldn't have had much of a film...so instead, as you say, I went for thre more cynic, bleak viewpoint.
The point is - I wanted to make a film about the dangers and the possibilities about the fruition of ID cards in British society. If I had longer (the competition alows only 10 minutes) I would've made the scene more 'cracker-esque' and had the N.I.R. agent break O'Brien's spirit before he confessed. Alas, I only had the time to make the thing flow to a point where the NIR agent comes out with the phone. I don't think the statement that's being made is fairly obvious, as I said earlier - the main inspiration was the underground shoorting of an innocent man, but also I hope the piece leaves you thinking about other things, such as the Camp X-Ray and other people wrongfully accused of something they didn't commit. I was also inspired by the Kafka story, "The Trial", and wanted to put across the message of someone being wrongfully imprisioned for a nameless crime.
If you feel though, that there were too many cliches and it was too predictible, then fair enough - I value your opinion though. I appreciate your criticisms and that's exactly why I posted the link to the movie here - I wanted to get opinions from all perspectives.
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Lawriejaffa
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Yup, well i think what you say yourself relates to my point, regarding the 'homage' you cite, for this is less a tribute (as it appears) and seems a little contrived. Without cliche however, the twist wouldn't work at the end. Because naturally its when we think we know the score as it were, that when things turn around it surprises us.
The danger like i say though is, if for 90% of the film you think 'this is soooo 1984, or soooo this or that' then in the last minute you go WOW, (cos of the twist) then u have to bear in mind, that for 90% before, the audience is going 'ho hum seen it before' Because I imagine the most positive reaction comes from the 'twist' thats how it may appear as a one trick pony as it were (at least to those old enuf to see the films that have inspired this.)
To be honest regarding the politics, its largely irrelevant from this and other films, (people will be enticed by the subject matter - especially if its relevant to the present) but it won't drive them to watch a film out of duty (99%) of the time, - exception possibly being the 9/11 films in the USA (tho i doubt the oliver stone one will draw them in)
I didnt have a problem with the subject matter or the negative outcome (that didnt inspire my criticism) it was the contrived elements, and the reliance of a twist at the end to bring about any 'innovative' entertainment. I mean after all im a nihilist myself lol.
Ways it could have appeared far more original, would have been to make the interrogater faaaar less agent smith like, (his campness is more amusing than terrifying) have the 'victim' actor more pertinent or visible, (cos we really don't get that much about him) More interesting location for the interrogation. These are a little random and subjective, in the end i think what would have helped u the most, is to identify the cliches or imagery that was inspiring u (that u wanted to pay homage too) and then play against it (like the twist does) but earlier in the film. That doesnt mean more twists of course, just more casting and performing against 'type' - ie against convention.
The danger like i say though is, if for 90% of the film you think 'this is soooo 1984, or soooo this or that' then in the last minute you go WOW, (cos of the twist) then u have to bear in mind, that for 90% before, the audience is going 'ho hum seen it before' Because I imagine the most positive reaction comes from the 'twist' thats how it may appear as a one trick pony as it were (at least to those old enuf to see the films that have inspired this.)
To be honest regarding the politics, its largely irrelevant from this and other films, (people will be enticed by the subject matter - especially if its relevant to the present) but it won't drive them to watch a film out of duty (99%) of the time, - exception possibly being the 9/11 films in the USA (tho i doubt the oliver stone one will draw them in)
I didnt have a problem with the subject matter or the negative outcome (that didnt inspire my criticism) it was the contrived elements, and the reliance of a twist at the end to bring about any 'innovative' entertainment. I mean after all im a nihilist myself lol.
Ways it could have appeared far more original, would have been to make the interrogater faaaar less agent smith like, (his campness is more amusing than terrifying) have the 'victim' actor more pertinent or visible, (cos we really don't get that much about him) More interesting location for the interrogation. These are a little random and subjective, in the end i think what would have helped u the most, is to identify the cliches or imagery that was inspiring u (that u wanted to pay homage too) and then play against it (like the twist does) but earlier in the film. That doesnt mean more twists of course, just more casting and performing against 'type' - ie against convention.