Camerawork

‘A Tale of Two Sisters'(Under the sink)

Here are some visual examples of the shots I’ll be talking about to feast your eyes on…

    

                   Mid shot                                                           Wide shot

                                                   

 

                 Close up                                             Reaction shot

   

 Over the shoulder shot                                  Establishing shot                                 Low angle shot

The scene begins with an establishing shot of the male and female in the kitchen/dining area, which immediately informs the audience of the (cold and distant) relationship between the wife and husband because of the negative body language and hostile, clipped speech. It also informs the audience that the following action will be focused on the female, firstly because she is in the centre of the frame and further attracts attention with the vivid red of her clothing, and secondly because the male leaves the frame twice, and the lingering shot after his second exit indicates to the audience that he is not coming back, highlighting the fact that she is now alone in he room.

It then cuts to a low angled mid shot depicting her head and shoulders from the edge of the table. this helps the audience to focus on her stiff and almost pained facial expression, as well as her hair over her eyes, which initially creates a barrier between her and the audience, and therefore helps to give a better insight into her emotions. Also, as a low angled shot, it suggests that she could be being watched, which helps to subconsciously build towards the imminent frightening moment.

As we hear the noise, she turns, which indicates where the noise is coming from to the viewer. It also introduces an element of fear or intrigue, as the audience can’t see what she’s looking at, or what made the noise. It then cuts to an over the shoulder shot, which depicts the blue cupboards and sink (which we now realise is the source of the mysterious noise). It then slowly tracks towards her, as well as the noise and sink, which focuses the audience on what she’s watching. During this focus, the cupboard door slowly creaks open of its own accord, and through the over the shoulder shot we see both this and her reaction to it (sharp intake of breath denoting fear). although the director could have used a series of shot-reverse-shots to show this sequence, it’s important to use the least number of shots as possible, because more shots means more opportunities to break the tension needed for the viewer to be frightened/startled at the end of the scene. It cuts to a mid shot/reaction shot, and the viewer can clearly see her fear of whatever’s making the noise, which helps builds empathy the character and the audience. This handheld shot then follows her movement, which again reduces the amount of shots and builds tension.

It cuts to a close up of the cupboard, which slightly releases the tension as it’s quite an anti climax, because the viewer was expecting something frightening to be there. The shot stays static as she walks into the frame (again building tension). We then see a reaction shot, which similarly expresses her relief. The camera follows her down (keeping audience focused on her) before cutting to a point of view shot from under the sink (ground level). This contributes to the ever increasing feeling that she’s being watched by something. The viewer also subconsciously notes that the table and chairs are empty as she bends down and obscures the background. There is then another release of tension as she visibly sighs with relief, before lifting her head. Then we see the ghost girl sitting slumped in the previously empty chair (drawing on the emptiness we had just subconsciously noted). It’s also very unsettling because the audience had just been experiencing a relative amount of relief, because there hadn’t been (so far) anything startling, plus we empathise with her previous relief.

It then cuts to a mid/reaction shot, and the camera slowly moves towards her. From her anxious facial expression, it tells the audience that she’s becoming increasingly aware that she’s not alone. She slowly moves her eyes, drawing out the anticipation/tension. When she eventually turns, it cuts a centred mid shot of the table and chairs, empty. This again releases tension, as the audience has been anticipating a re-appearance of the ghost girl. Then it cuts to a wide shot from underneath the table, which enables the viewer to see her full body position (knelt on the floor) which gives her an air of vulnerability, which also helps to increase the sense that she is being watched.

Then it cuts to another mid/reaction shot, which enables the audience to fully view her fearful expression, and register that she has realised that something’s going on. There is then a close up of a clip on the floor, which the viewer realises was not there before. There is another mid/reaction shot which shows the suspicion and concentration on her face, and then the handheld shot tracks from her eyes down her extended arm as she slowly reaches for the clip. The pace is slow as this is all one shot (applying the economy of shots rule) and tension is built up again. It also focuses the audience on the very spot which will startle them (the clip). She then touches it and starts to bring it back,and by this point the audience has anticipated that the ‘jump’ moment will come sooner, so it’s already later than originally thought. Then the horrible hand snaps out very quickly, rapidly quickening the pace of the previously slow paced scene. This lead to a very startling effect, which makes the viewer ‘jump’.

It then immediately cuts to a reaction shot of the terrorfied female screaming (audience empathise with character’s fright) before cutting to an over the shoulder shot as she stumbles backwards. The camera retreats to allow the ghost girl to come into frame, before finally cutting to a close up/reaction shot of the female as she stares in wide eyed horror.

In short, an emotional rollercoaster…

What is mise-en-scene?

Mis-en-scene encompasses a wide range of techniques used in all films to create effect, including…

• Lighting
• Colour palette
• Location/Setting
• Props
• Costume
• Characters
• Dialogue

In ‘A Tale of Two Sisters’ (directed by Jee-woon Kim), mis en scene is used to establish the tone of the scene, and helps to prepare for the imminent ‘jump’ moment that startles the viewer. Firstly, in terms of lighting, the gloomy corners and shadows cast offer a fear of the unknown, and immediately put the audience (slightly) on edge. It also takes place at night, and (as everyone knows) events of the paranormal predominantly occur at night (feeding on our built in primal instinct to be afraid of the dark). Colours are also used in this scene to great effect, as the backdrop uses a very muted palette in order to heavily contrast with the bright, vivid colours of the female’s red top and lipstick (possibly symbolising sexuality or danger), the dark shirt of the male, the white tablecloth, the blue sink, and the green dress of the ghost girl to make them stand out. Also, the muted colour scheme and blue sink reflect the coldness of the relationship between the male and female, which is reiterated by the negative/closed off body language and the blunt, hostile speech; simply “Go to bed.”

The location also increases the eventual fear for the audience, as it takes place in the kitchen, therefore rooting unsettling events in what was a safe haven, meaning that even after the film has finished the events remain in the viewer’s mind, because they associate their mundane surroundings with the unsettling events they experienced whilst watching the film, therefore making it much more memorable, and permanently etching it into the viewer’s mind. It also takes place in a heavily traditional Westernised home, despite taking place in Korea, which draws on its Western fairy tale origins (twisted fairy tale).

The fact that all the action takes place near a normal, everyday item (the cupboard doors), which lulls the audience into a false sense of security. It also helps you to empathise with the character because the use of this everyday item helps you imagine yourself in her situation, consequently making the effect more frightening and startling.

  http://www.imdb.com/title/tt0365376/

Mis en scene can also be used to effectively evoke emotion in the audience. In ‘Never Let Me Go’ (directed by Mark Romanek), many of the scenes take place at school. The children all wear school uniform, play juvenile games, sing innocent chants, play in sun dappled fields, and express their naivety in many situations. This all highlights their innocence, and therefore increases its melancholic tone and causes it to be desperately sad, as the viewer realises that their lives will be cruelly cut short, and this naive freedom will soon be fragmented with the realisation of their terrible fate. In the film opening, Alice playing with Julia in the woods, innocent laughter, youthful, pure appearance, all combine to create a picture of sweet naivete.

http://www.imdb.com/title/tt1334260/

http://www.youtube.com/watch?v=sXiRZhDEo8A

Colour and Mis en scene

Colour is very important in mis en scene, as it can completely transform the tone/mood of the scene. In ‘The Wizard of Oz’ , the famous scene in which Dorothy steps out of the hum drum, black and white Kansas into the technicolour utopia of Oz, the contrast between the grainy, drained, black and white world of Kansas, in which everyone wears mundane clothing and toils away at a modest farm, and the bright and vivid Oz, where everyone wears elaborate colourful clothing and all everyone does is sing and dance, is enabled by mis en scene.

   

Similarly, in Spielberg’s ‘War of the Worlds’, a scene (using a sort of dark version of ‘The Wizard of Oz’) depicts Tom Cruise racing down the corridor of a decrepit, crumbling house, only to open the door to see the startlingly striking crimson vines coiled around every possible surface, as well as the numerous pools of blood, mise en scene is certainly used to highlight the contrast, and therefore make the end result more startling for the audience. Cruise runs down the corridor of a house (with safe connotations) and fairly washed out colours, then opens the door to see the world he is used to tainted and infected with the deadly crimson of the battle stricken earth, therefore evoking stronger emotions. I used the red of Alice’s coat in a similar fashion, not only does it stand out from the monotonous brown and grey of the woods in the background, causing the later empty red coat hanging off the branch disturbing. It could also serve to represent the imminent danger she will find herself in.

    

Preliminary Exercise Script

We kept the dialogue to a minimum because the most important feature of this exercise is to demonstrate that we understand how to do techniques such as shot reverse shot, match on action, and the 180 degree effect. So, this is our script 🙂

(Starts in a corridor, with the gradually increased sound of footsteps)

Fade in to show character 1 down the corridor walking towards the camera (whole body shot)  

Then character 1 turns the corner of the corridor (back of character) and then cuts to a shot of the front of the character (match on action)                                                                                                  

Character 1 walks towards a door and opens it (filmed from behind – mid shot) before cutting to the character entering the room (filmed from the front – mid shot) – match on action.

Point of view shot of character 2 sitting across the room at a table.

Character 1 sits at the other end of the table. Camera captures both characters, with character 1 on the left and character 2 on the right. (180 degree rule)

Dialogue proceeds…

Character 1: Have you done it?

(Cuts to character 2)

Character 2 nods (close up)

(Cuts to character 1)

Character 1: Where is it?

(Cuts to character 2)

Character 2: Where no one will find it. (All shot reverse shot)

The ever changing music industry…

Like most people, I love listening to music, and take my iPod basically everywhere.It would be incredibly difficult to say who my favourite band/artist is, as it’s quite a eclectic mix, ranging from The Beatles, The Who, and Queen to Bruno Mars, Coldplay, and Tim Minchin (although really he’s more of a comedian/musician, but still, incredibly funny songs)

The last album I bought was ‘El Camino’ by The Black Keys on the iTunes app on my iPhone. I already had two of the tracks because I’d heard them on the radio (‘Lonely Boy’ and ‘Little Black Submarines’).

http://www.youtube.com/watch?v=a_426RiwST8<< ‘Lonely Boy’ by The Black Keys 🙂 if this doesn’t make you smile I don’t know what will 😛

I honestly really wish I still bought actual CDs, but the simple fact remains that it’s so much easier, quicker, and in most cases cheaper just to buy and download it on my phone via iTunes. I think that’s probably one the most significant aspects about the ‘digital age’: the immediacy of everything. We hear a song on the radio, see a video on 4music/Viva/MTV, see it on YouTube, and can download it in a instant. Also, with the rise in popularity of sites such as Spotify, Playlist.com, and YouTube, you can listen to any song, any time for free.

    

I realise that not too long ago none of this was possible, and if you heard a song on the radio you would have to wait until you could go to town and buy it. If you were interested in the band and wanted to see the video, you’d have to wait until the next instalment of a chart show. However, all this care and attention probably meant that you actually could enjoy buying an album as an activity, and not just an almost mindless click of a button or swipe of the screen, soon to be forgotten about. The rise of the digital age has resulted in the music industry having to rapidly change almost all its integral aspects to keep up; from the way we buy music to the way we share it on facebook/twitter/tumblr/spotify…the list goes on and on.

It seems (unfortunately) with the amazing arrival of the digital age, the careful browsing and flicking through CDs and records in shops may be over, but personally I hope it never goes. 🙂

Textual Analysis (‘Magnolia’)

‘Magnolia’ (directed by Paul Thomas Anderson, released 1999)

The film begins with a black screen and a narration. This instantly grabs the attention of the audience, as there is nothing visually that can distract them. Then, the audience are immediately notified that the starts in the past, for too fairly obvious reasons: it’s in black and white, and the costume of the characters shown is very old fashioned. this gives the film some depth and insinuates that there is a history that is relevant to the plot. And, true to form, it is here the viewer discovers the first ‘coincidence’, (concerning some curious word play…)

The second ‘coincidence’ concerns the frankly inane death of a scuba diver, and the nature in which this scene is filmed and edited causes the incident to be bemusing, instead of tragic. Firstly (throughout all three ‘coincidences’) light hearted, playful music is played, which lightens the mood. Also, the way the scuba diver in the tree is filmed is significant; first a long shot, then mid shot, then a close up, then an extreme close up. Each time it cuts to a closer shot, it increases and highlights the dark humour merely by the utter absurdity of the accident. In addition, the manner of narration is quite teasing, or at least definitely not serious in its tone, which adds to the comic effect. With coincidence 1 and 2, the editing is also quite fast paced, which causes the audience to focus on what’s occurring, particularly because it’s so early in the film, and the information being given must be vital to the plot.

Another key feature of the introduction is that all the characters are given a kind of profile, (e.g. estranged father) which gives them more dimension, and consequently more realistic, especially as often at least one of the credentials is a flaw, making them more relatable to the audience.

In the third ‘coincidence’, the same effects are used to transform what would usually be perceived as a terrible and tragic accident into something faintly comical and amusing. Firstly, just after the audience sees the man jump off the building, get shot, and fall crumpled in the netting, (so far pretty dismal), the viewer watches a memorable couple have a fight, in which the crude language used causes amusement. Also, when the narrator is explaining the again curious and foolish accident, the arrows drawn almost detach the viewer from the (what should be) traumatic nature of the event, because it no longer feels real.

Then, more subdued, orchestral music is played, showing a change in tone (a more serious note) when, intriguingly, what I perceived to be the objective and omnipresent narrator addresses himself with “I” and “this narrator”, which could indicate to the audience that it is not a faceless entity but a future integral character to the plot, which is a fascinating prospect. And finally, his speech ends with the enthralling line: “This narrator thinks this was not just a matter of chance, these strange things happen all the time…” This sparks curiosity, therefore making the viewer more inclined to watch the rest of the film and discover the answer…

This curious use of narrative caused me to realise what an opening monologue can achieve. It makes the audience curious and anxious to watch more, and captures the general mood of the film. This would be a good idea for ‘The Promise’.

 

 

More Textual Analysis (‘The Sixth Sense’)

The Sixth Sense (directed by M. Night Shyamalan, released in 1999)

There are a number of ways in which the film opening to ‘The Sixth Sense’ adheres to the generic features of a horror film, and therefore informs the audience of the tone for the film they are viewing. At the start, an unsettling and haunting sound is played just before the idents have finished playing, which already helps indicate the genre. Then, for a period of time, the screen is predominantly black, apart from the credits, which helps build tension and focuses the viewer’s mind on what awaits. There are also fairly lengthy gaps between each name, which additionally helps build tension because it causes the credits to go at a slow pace. In addition, the credits themselves enlarge form the centre, which draws the audience in further. When the ‘The Sixth Sense’ appears on the screen, a swell of frightening orchestral music is played, which is both alarming and again subscribes to the tone. In the credits for ‘The Promise’ , I will try to find dramatic yet mysterious sound that sets the audience up for what awaits.

Then, the point of view shot from behind the wine shelves gives the impression that the female character is being watched, which gives an unnerving effect.  This element of voyeurism is going to be important in our film opening,  when Alice is being approached by the capturer, because the handheld shot is from the point of view of this enigmatic, elusive entity.   What is also slightly unnerving is the chill that’s in the air (indicated by her shivering and wrapping her  arms around herself, and cold and muted palette shown with the lighting), a classic feature of supernatural/horror films. Her possible fear by the sudden temperature change and sense of being surveyed  is shown with her rapid run up the stairs of the cellar. When she returns to her husband the living area, the colours are warm and inviting, and in contrast offer the audience a sense of safety, as well as the relatively mundane and normal conversation that follows. Consequently, this helps to lull the audience into a false sense of security, which heightens the shock and fear the viewer feels at the frightening events that follow. The conversation also subtly gives background information, including the audience of the husband’s profession (child psychologist) and that he has been recently recognised and rewarded for his dedication to his field, which indicates that he’s talented at his job. This is also insinuated when the wife describes his talent at his profession as “a gift”. The audience also learn that to get this achievement he has had to sacrifice many things, including paying full attention to his wife ( “You’ve put everything second, including me”.)

When the couple start getting romantic, one of the shots is at the corner of the stairs. This again gives the impression that the pair is being watched, which is disturbing. It also indicates that the pair are about to go upstairs, as well as the fact that the couple are fairly wealthy, because the house is grand and well furbished (again revealing the husband’s obvious success at his job.) Upon the discovery of the broken glass and the broken phone, this alerts the audience and puts them on edge. Then, when the shadow passes through the bathroom and the wife screams, this startles the viewer.

http://www.youtube.com/watch?v=eb5bmX9P1zs << Film opening

http://www.imdb.com/title/tt0167404/ << ‘The Sixth Sense’ on imdb. There’s always some really interesting facts in the trivia part, and one of them for this film literally blew my mind! But I won’t say what it is here because it gives away a lot to those who haven’t seen it…

Textual Analysis

With these three film clips, I will address two questions:

• What is the director trying to achieve?
• What effect does this have on the audience?

‘Snatch’ (directed by Guy Ritchie, released in 2000)

The monologue at the beginning of the film opening is (presumably) directed towards the viewer, which helps to engage them, as well as using fairly informal language, which builds a relationship between the character and the audience. In addition, it gives some background information and enables the story to progress.

At first, the surroundings of the two characters are dark, meaning that the audience cannot be distracted and helps them to focus on the narration (which, as previously mentioned, is important because it offers some background information to the story.) The audience learn that the characters lead a criminal lifestyle, which leads to the next scene. The group of men are viewed through a security camera, which indicates they could be being watched and analysed, as well as the criminal connotations it offers. This is because most criminal activity is filmed through this medium, therefore the use of security camera build up a sense of anticipation for the audience, as they know that some form of criminal activity is imminent. The music is quite light hearted and almost comical, which could help to lull the audience into a false sense of security so that the events that follow are more shocking. However, it could also be to lighten the tone of the situation, so that when the robbery is carried out it is not viewed as disturbing or shameful, but even vaguely comical. There is little editing, which slows down the pace. Also, the conversation conducted between the group of men is fairly mundane, which again helps to calm the audience and causes the events that follow to be slightly unexpected, as well as contributing to the overall comedic effect.

Then, when the men walk through the door and are no longer seen through the security, all hell breaks loose. All the tranquillity has vanished, and it becomes apparent that it was all indeed a rouse. The music suddenly changes from calm and slow to blaring and heavy, and the editing becomes much faster in pace.

Then all the members of the gang are shown with comical nicknames. This helps the audience to identify who they are, but more importantly to build empathy between the characters and the audience, because of their informal style. Also, the way in which they are paused whilst in action (along with the nickname) almost gives it a comic book feel, therefore implying that there will be a significant amount of action. It also glorifies the characters and their actions, and again contributes to this light hearted, casual view of crime adopted for much of the film opening.

‘Trainspotting’ (directed by Danny Boyle, released in 1996)

The film begins with heavy, fast paced, non diegetic sound track, matching the characters rapid speed as he races down the pavement. In terms of mis en scene, the main character wears fairly shabby, informal clothes, as opposed to the sharply dressed official chasing him. These factors already indicate to the audience that the characters in film have been and will be involved in some form of criminal activity, thus setting the tone. The director also involves various incidents, such as when the main character, or ‘Renton’ gets knocked over by a car, and instead of appearing shaken, fearful or angry, which the viewer would expect, he turns and looks directly through the windscreen at the driver, (and to all intents and purposes, the audience) with a crazed look in his eye, before grinning and laughing manically. This also adds to setting the tone for the film, because it suggests the events will be wild, crazy, and unexpected. In addition, the audience see Renton smoking heroin and literally keeling over from the effects, tying in both the previously mentioned criminal inferences with that of the unexpected and wild. The director also pauses each character with a nickname, which I think are for two purposes. Firstly, for practical reasons, simply so they are easier to identify throughout the film. Secondly, and more importantly, to build empathy between the characters and the audience, particularly because they are informal nicknames, (e.g. Sick Boy, Begbie and Spud), rather than their Christian names.  Overall, especially when considering mis en scene, the opening has quite a shabby and dishevelled feel, which insinuates that much of the action will occur in the underbelly of an urban environment, and that the characters are living through rough times. Finally, the narration reveals a very irrational, crazed, and abnormal lifestyle, in which he lists a number of mundane things which most people aspire to have in their lives,(“choose a job, choose a career, choose a family” and then dismisses it all with his love of heroin, (But why would I want to do that? I chose not to choose life…and the reasons? Who needs reasons when you have heroin?”)

Full Monologue

“Choose life.

Choose a job.

Choose a career.

Choose a family.

Choose a f***ing big television

Choose washing machines, cars, compact disk players and electric tin openers.

Choose good health, low cholesterol and dental insurance.

Choose fixed interest mortgage repayments.

Choose a starter home.

Choose your friends.

Choose leisurewear and matching luggage.

Choose a three piece suite on higher purchase in a range of f***ing fabrics.

Choose mind numbing, spirit crushing game shows.

Choose rotting away at the end of it all, pissing your last in a miserable hole.

Choose your future, choose life.

But why would I want to do that?

I chose not to choose life…and the reasons? Who needs reasons when you have heroin?” 

‘The Remains of the Day’ (directed by James Ivory, released in 1993)

At the start, the sound track is very serene and calm, which soothes the viewer. However, it has an edge of sadness, which indicates that the tone of the film (or at least the film opening) may be melancholic. The narration (in the form of a letter) offers a large amount of background information to the story, as well as a sense of nostalgia, as the woman talks about events in the past with a feeling of longing. The tracking shot used when the horse and carriage enter the ground causes the audience to feel as if they too are entering the ground, and by extension, the story itself. During the letter, the music becomes stirring, which builds up the atmosphere and dramatic effect. in terms of mis en scene, the characters viewed all wear fairly old fashioned dress, indicating to the audience that all these events took place in the past. this is also indicated by the manner in which the female speaks. 

The media and me.

When I actually sit down and mentally list all the various types of media I use, it soon amounts to a very, very long list, which reinforces the fact that often I use media without even realising. Firstly, I am addicted to my iPhone.So addicted, in fact, that I’ll have to construct a mini list just to encompass the media I access on it.

• I use it to take all my photos, and then edit them on either instagram, snapseed, or vintage cam.
• I also use it for social networks such as facebook, which I check almost religiously (morning and night), as well as any time I’m at least vaguely bored.
• In addition, I catch up with my favourite TV programmes, whether that be through BBC iplayer, 4OD, or ITV player.
• I  have about fifty apps (applications) which include games, news websites (BBC News), magazine websites (Glamour), and the radio, of which I use at least one every day.
• And of course not forgetting iTunes, where I often download songs and albums. I unfortunately no longer buy actual CDs because it’s simply too much hassle.

Away from my  iPhone, I also read magazines such as ‘Glamour’ and ‘Grazia’ about once a month. I do read newspapers as well, such as The Guardian, which I do find very interesting, although if I’m completely honest I don’t read it as much as the magazines mentioned above, just because I usually get the news via either the previously mentioned BBC News app on my phone, or on television.

I love my laptop, and I use it for social networking, research, and watching films and TV. I literally have no idea how I would function without the internet!

And last, but certainly not least, films. I go to the cinema with my friends as much as possible, however the Odeon has a tendency to solely show films destined to be American / Hollywood blockbusters , which are absolutely  fine when I’m in the mood, but I also enjoy other genres, such as horror. For this, I either rent DVDs or use the BT Vision On Demand service, which has a list of genres, (e.g Romance, Horror, Comedy, Family, Documentary etc) My favourite would have to be either Psycho, The Woman in Black, or Shutter Island, although arguably there is a certain amount of crossover into psychological/thriller with all three titles. In addition, I have my much beloved collection of boxsets, which have nearly all my favourite sitcoms (situation comedy), one of my favourite branches of comedy. These include:

1. Friends (1-10) ~ Since I was about 7/8 years old, I have watched ‘Friends’ avidly, and it never fails to cheer me up. http://www.youtube.com/watch?v=iCCzzZVVpIA
2. The IT Crowd ~ A genius and (in my opinion) somewhat underrated comedy, featuring two IT nerds coming to terms with their surroundings, as well as the amazing Richard Ayoade.      http://www.youtube.com/watch?v=5Jp5OCV3E28
3. Peep Show   http://www.youtube.com/watch?v=A1gRgSNEMxA
4. Gavin and Stacey  http://www.youtube.com/watch?v=Xaq4nN2QwEI
5. The Royle Family  http://www.youtube.com/watch?v=zuCkT9Ha5hU
6. The Big Bang Theory  http://www.youtube.com/watch?v=mlhHTdDqoBc

 

I also enjoy films produced by smaller labels, and I do try to support the British film industry as much as I can, and I love films such as…

• ‘Never Let Me Go’ (directed by Mark Romanek)
• ‘Shallow Grave’ (directed by Danny Boyle)
• ‘Withnail & I’ (directed by Bruce Robinson)
• ‘Shaun of the Dead’ (directed by Edgar Wright, and one of my favourite films ever)
• ‘Four Weddings and a Funeral’ (directed by Mike Newell)
• ‘Hot Fuzz’ (directed by Edgar Wright)
• Submarine (directed by Richard Ayoade)
• And of course the wonderful Harry Potter…