3/03 – Final Major

The Brief

‘The Night Angel Trilogy’ has been put forward by fans into making the book series into a motion picture. The task set forward is to create a Trailer/Teaser of the movie to demonstrate some form of the storyline as well some of the effects that will be used.

The Proposition

The tasked set forward is to see how well or how anticipated such a movie will be. The trailer/teaser has to reflect on the current fan base and impact them as much as the book did, to be enticed. It will also has to impact on none readers of the book, the Trailer/Teaser has to interest and excite them to want to watch the movie as well as give a summary on the genre and briefly the story behind it.

Target Audience

The fan base surrounding the book is 16 and above.

Requirement

  • Maintain the faith of the current fan base have on the book (keep true to story)
  • Impact and incite both genders
  • Targets 14 yr olds and above

Design Development

  • Storyboard
  • Video trailer

Timetable/Schedule – Week

  1. Research trailers, film advertising and watch and listen to director commentaries for ideas
  2. Begin development for character profiles and theories for trailer
  3. Have a generalised character profile folder (Can be updated throughout work), ideas for trailer and a storyboard
  4. Begin storyboard development
  5. Begin filming and editing
  6. Editing
  7. Editing
  8. Finalised trailer for show
  9. Have a complete set of work for project
  10. Fully updated blog and portfolio
  11. Present completed project

Research:-

http://www.springhurst.org/cinemagic/glossary_terms.htm#Reverse%20angle

This site taught me all about filming terms and techniques I have tried to incorporate whilst filming. It taught the camera angles and definitions.

To gain an insight into the development of trailers, I spent alot of time on YouTube watching several accounts of trailers which had a similar theme and genre to the one I am attempting to make.

http://www.youtube.com/results?search_query=action+movie+trailer&aq=f 

 Locations for Filming:-

Reculver Castle

Reculver Castle, also known as Regulbium, is located in Kent near HerneBay. Originally a camp and fortification created by the Romans as a station to oversee and protect one mouth of the channel which separated the Isle of Thanet(ca. 43 AD) from the mainland, the site soon incorporated civilian settlement as well, although military function again took primacy during the 3rd century when Saxon pirates began raiding the region. As early as 210 AD, a fort was built with a 15 foot high wall. The fort is believed to have been abandoned in 410 AD when Roman troops left Britain. In 669 AD, the fort became the site of a Saxon church. St. Mary’s Church, as it was called, became a navigational point for sailors, with two prominent towers known as “Twin Sisters”. In light of their usefulness, the towers were allowed to remain when, in the 19th century, the church was demolished.

The site was important to several Saxon kings, particularly Æthelberht of Kent. According to Abbeys, Castles and Ancient Halls of England and Wales, originally published in 1875 by John Timbs and Alexander Gunn, Æthelberht settled there as his primary seat after converting to Christianity and is buried in the remains of the first Saxon church.[1]

The region was gradually depopulated as a result of the encroachment of the sea, which continues to threaten the site.

Alexander Palace

  In 1858, the influential architect and designer Owen Jones proposed a new exhibition and entertainment centre in north London, publishing plans for a huge glazed structure there. He hoped it would be as popular as the Crystal Palace, but his proposal foundered. The idea persisted, however, and a more solid “Palace for the People” was finally built by the firm of Kelk and Lucas, to designs by John Johnson in partnership with the architect and civil engineer Alfred Meeson. It was called after the future Edward VII’s Danish wife, and opened by Queen Victoria on her birthday, 24 May 1873 — only to burn down again after sixteen days. Almost all the contents were destroyed. This must have been one of the catastrophes which prevented iron and glass from being used as extensively in architecture as their early advocates (such as Owen himself) had envisaged. A later inferno in 1980 showed how damagingly the thin iron roofing-frames could be twisted by heat. Nevertheless, in 1873 the original architectural and building team simply set to work again with the same materials, and rebuilt the Palace with improvements aimed at reducing future fire risks. They replaced the central dome with a curved roof 85′ wide and “supported by a forest of pillars” (“A Palace for the People”), and provided storage for nearly 100,000 gallons of water in the four corner towers and in reservoirs built into the end walls of the Great Hall. When the Palace reopened in 1875 it still had iron columns very much like those seen at railway stations; the exterior valencing also suggests the cross-influence of railway architecture. Indeed, a dedicated branch-line used to bring a train service right up to the Palace.

 Bruce Grove Castle

A station and street in central Tottenham, with nearby Bruce Castle as the principal place of interest. The Bruce family built Tottenham manor house here in the mid 13th century but Edward I sequestered their property after Robert the Bruce rebelled and became king of Scotlandin 1306. The house was rebuilt in 1514 on a scale that would befit visits from Henry VIII and Elizabeth I. The house was known as ‘The Lordship’ until the late 17th century, when it was remodelled and named Bruce Castle. With the break-up of the manorial estate in 1789 a new road called Bruce Grove was laid out, and semi-detached villas were erected on part of its south-western side. Almshouses were built at the northern end of the road in the early 19th century (see image below). In 1827 the Hill family acquired Bruce Castle and converted it into a school. For its first six years the school’s headmaster was Rowland Hill, who later devised the basis of the modern postal service. The area remained popular with wealthy merchants, especially Quakers, until the arrival of the railway in 1872. Cheap housing for working-class commuters filled the area over the remainder of the century, with shops and places of entertainment around the station. After the school’s closure in 1891, the local board bought Bruce Castle and opened the grounds as a public park in the following year. The house is now a museum of local history, with a special collection devoted to the postal service.

In research I watched many trailers and movie director’s cut, most found on youtube. Examples :-

Having a general Idea of what I wished to portray in the movie, I colloected several scenes from within the book to demonstrate what best displayed the genre of the movie.

Chapters from book used (Dialogue from book used as script):-

       

     

These are several chapters within the book that i found relateable for use in my trailer. Due to the many scenes and twist within the book, rather than show the trailer to relate the many change throughout the book, these chapters merely illustrate the genre and general theme to the book based movie.

Quotes and script for monologue:-

  • The perfect killer has no friends, only targets
  • Kylar – One who kills and is killed
  • You’re arent making art, you’re making corpses. Dead is dead.
  • Embrace the shadow…Breathe the silence…Be ordinary, be invisible…Mark the man…Know every out
  • A job is a job, it isn’t done until it’s done
  • A wetboy leaves corpses, not evidence
  • Vengeance stems from a love of justice and a desire to redress wrongs. But revenge is damning. Three faces has the Night Angel, the avatar of Retribution: Vengeance, Justice, Mercy#

Quotes found in book, some trailers are known for having text to support the visual to add a plot to base the movie on. Rather than describe emotion of a protaganist or describe the journey they the movie takes, I have chosen to incorporate text based on the being that is the protaganist. Much like the trailer for ‘The Mechanic’ (Jason Stratham), rather than have the character explain his role, i’ve chosen quotes and text from within the book to describe characteristics of the protaganist proffession, attributes and way of life.

Storyboard and Editions:-

1.Opening: Scene of the asp.

 Starts with the thud of the camera falling to the table in representation of the snake faling from the bag. The camera looks up to Kylar and in a snake like fashion slithers toward him and then strikes. Durzo voice over in the background of the action and chair crashing to the floor. As the camera strikes scene blacks out. Scene comes back with Kylar standing breathing heavily, Durzo asks, Kylar replies, camera focuses on Durzo’s back as he puts snake(camera) back into the bag, he replies and camera blacks out.

(I believe this scene works as it builds quite a bit of suspense as well as best describes the general attitude attributed to the main characters)

P156: Azoth death scene

Scene begins with the General seated in chair.

Durzo says, “Azoth here is my best apprentice. He’s agile, he’s smart, he learns things after being told once, he works tirelessly. Azoth, tell the general what you have learned about life.”

 Azoth speaks, “Life is empty. Life is meaningless. When we take a life, we aren’t taking anything of value. Wetboys are killers. That’s all we do. That’s all we are. There are no poets in the bitter business.”

(This scene was chosen as it shows the intensity and creates a reality for the viewers to describe the world being portrayed. The saying is a major aspect to the book, a passing of knowledge if you will, from master to apprentice. It shows a wetboys religion.)

 Durzo speaks, “Lord General, are you with me?”

General, “I’m with you” (Fire raging in his eyes)

Durzo, (Voice was ice) “Then know this: I’d kill my own apprentice, before I let you use him against me.”

The general is seated in a chair in the centre of the room. Durzo stands 10 feet from the general, with Azoth by his side.

 A conversation ensues that leads to Durzo confronting the general on the use of Azoth against himself. Durzo stabs Azoth and we watch him look to the blade in his chest then fall to the floor. As Azoth dies camera fades out with his eyes closing. Voice over may be used for Kylar’s final thoughts.(Did Master Blint just stab me?)

(best shows and describes how the mind of Durzo works as well as shows an aspect of magic that takes place. Best way to illustrate the magic as well as correlations to text chosen. As next scenes as well as the first scene shows Kyalr alive it allows viewer an incite into the field of magic available. It is also a major scene within the book as it is a turning point so to speak in Kylar’s life, as he transcends from Azoth, the guild rat to Kylar Stern, Young Baron. – *Azoth had to die in order for Kylar to live.

It also shows the significance of Kylar’s name quite early on as a means to illustrate the hidden depth it poses with the Ka’kari – *Kylar, one who kills and one who is killed.)

P202: Baptism scene (First Kill/Kylar)

 Scene is montage of first kill with voice over of Durzo speaking to Kylar. Scene culminates with Voice and scene becoming one as we see Durzo and Kylar at the end of the conversation.

 Kylar sneaks up onDevon. Thrusts the blade at the back of Devons neck and hits his spine. The blade bounces back and slips from his hand.Devonturns in shock and notices Kylar and the blade. They both step back, Kylar scoops up the blade andDevonfalls to his knees with fear etched on his face.

“Please… please don’t! Please!”DevonKylar slashed once, but the cut was not enough to kill quickly. Kylar grabbed his hair and slashed twice more.

(A demostration of what wetboys are capaple of. I chose his first kill to show a transition from his training to reality.)

 P92: Page 92 Monologue running voice over in the background as training commences between Kylar and Durzo. (234-235)

 Foreshadowing

 Monologue:  “Embrace the shadows…  Breathe the silence… be ordinary, be invisible… Mark the man… Know every out.”

 Durzo Previous: You aren’t making art, You’re making corpses. Dead is dead. Don’t play with your kills. Don’t go for the one thrust beautiful finish. Cut someone 20 times and let them collapse from bloodloss – then finish them. Don’t make it beautiful. You’re not making art, you’re making corpses.”

 Durzo “Never taste death. Every vile, every jar in here is death. If you’re working with death, you will get powders, pastes and salves. Never lick the death on your fingers. Never touch death to your eyes. You’ll wash your hands with this liquor and then this water, always into this basin, which you use for nothing else, and will only be emptied where I show you. Never taste death.”

(Monologue found in the first training session scene between Durzo and Kylar. It shows the person Kylar is willing to become for his goal. THe life away fear to feared)

 P388: Viridiana – Makes her attempt on Kylars life.

 Kylar: “Seriously. How embarrassing. To be taken in by another wetboy. Hmm, Or are you a wetgirl?”

 Scene opens with a seductive Vi playing house then making a sexual advance on Kylar which quickly becomes a death attempt on his life.

(Shows a lighter aspect to take away from the depth to the meaning of being a wetboy. It also gives an insight to the personality Kylar develops as he grows when not on missions. Vi also make her debut as well as role during the movie)

 P536: Full scene of Durzo and Kylar fighting with conversation.

 Begins with conversation. Close up of Kylar then Durzo as conversation continues and leads to Kylar charging Durzo. (Scene choreography needed)

 Kylars Quote of Durzo’s words, “Don’t fight when you can’t win, and don’t fight when you don’t want to win. Right?”

 Durzo, struggling to his feet, takes ready position then smirks. “Sometime you have to fight.”

 Kylar: “Not this time.” Raises sword, charges at Durzo, Dodge’s at last second and dives through window.”

(The ending of the trailer is a fight between master and apprentice, A battle carries out to demonstrtae the level of skill and use of magic within it from characters. It is often side fighters learn more about themselves and their oppenent in battle, this is the feeling i wish to portray with this particular scene. I’m using it to describe the growth in their feelings for one another – father and son bond)

2.First Chapter

Camera starts in a long/full shot a tavern. At the sound of a coin drop the scene jumps to its landing in a close up of the coin. As the coin rolls the camera pans out to a long-shot of the coin gradually thus introducing the surroundings of the floor. As coin rolls it enters a region that has gap/crack on in the floorboards big enough for it to fall and the coin is headed in the very direction. Camera zooms into the coin in a full-shot (Coin is the character thus far) until the coin disappears into the hole.

Once the coin vanishes, the camera is in a close-up shot of the gap and the eye of young Azoth (Kylar), fades into view from within the gap. Camera switches to his POV to see, Durzo sitting at the bar nursing a drink in a full-shot. Floorboard creaks as a person enters into the scene, only his leg is shown from the POV as he stands close to where gap is located. As their conversation ensues, as they draw their weapons to engage into a battle the camera switches back to the close-up of the gap with Azoth looking through. As the sounds of battle begin, their movement is portrayed through the use of shadows to black-out the scene in flashes synchronised with the sound of the battle.

A thud is heard the complete silence, the camera switches view to Azoth in mid-shot at a low angle beneath the floorboards as blood leaks through the gap he was previously looking through. Camera still on Azoth, nothing is heard until the next thing Azoth knows is a sword appearing through the floorboard directly in front of him, camera is in a close-up of his face depicting the sword as well. Scene blacks-out as Durzo removes sword to re-sheath after having spoken to Azoth from above the floorboard.

Durzo: “Never speak of this. Understand? I’ve done worst than kill children.”

 (Although originally drawn to be a trailer, I believe it is better portrayed as a title sequence. Names of cast and companies involved can be displayed as coin rolls, be it on the floorboards or the surround objects of the tavern as the camera pans out. The title of the movie can be displayed as screen blacks-out or as a cast of a shadow on the floorboards. Or it can be displayed after Durzo had removed his blade from the floorboard after speaking to Azoth.)

3. Azoth death scene

 The general is seated in a chair in the centre of the room. Durzo stands 10 feet from the general, with Azoth by his side. A conversation ensues that leads to Durzo confronting the general on the use of Azoth against himself. Durzo stabs Azoth and we watch him look to the blade in his chest then fall to the floor. As Azoth dies camera fades out with his eyes closing. Voice over may be used for Kylar’s final thoughts.(Did Master Blint just stab me?)

 Scene begins with the General seated in chair.

An over-the-shoulder shot depicting the side of Durzo and a full-shot of the general.

 Camera switches to a mid-shot from a low angle that depicts Durzo and Azoth (Kylar):

 Durzo says, “Azoth here is my best apprentice. He’s agile, he’s smart, he learns things after being told once, he works tirelessly. Azoth, tell the general what you have learned about life. 

As Durzo speaks, fillers of Azoth training is shown in flashes to relate to the dialogue. Such as: Azoth struggling to do push-ups, the pain and sweat he went through, Azoth reading strategy book….

When Durzo introduces Azoth to speak the camera moves into a close-up:

 Azoth speaks, “Life is empty. Life is meaningless. When we take a life, we aren’t taking anything of value. Wetboys are killers. That’s all we do. That’s all we are. There are no poets in the bitter business.”

 As Azoth speaks again flashes of fillers are introduced depicting scenes that can relate to each sentence spoken. Such as: Azoth killing, sneaking around, on the verge of an attack….

 Camera pans upwards to Durzo in a close-up shot:

 Durzo speaks, “Lord General, are you with me?”

 Reverse shot implemented from Durzo to General through each dialogue relatively:

 General, “I’m with you” (Fire raging in his eyes)

 Durzo, (Voice was ice) “Then know this: I’d kill my own apprentice, before I let you use him against me.”

 As Durzo finishes line, the scene blacks-out and only the sound of a dagger being rammed through flesh is heard. Camera re-enters focus in a close-up of Azoth’s face to show the shock at being stabbed by his master. As Azoth tilts his head down to view the wound and dagger protruding from his chest, the camera pans out to a mid-shot as he the collapses and camera follows his descent. Once fully on ground the camera pans in a extreme close-up of his eyes and fades out of focus to black in correlation to his blinks and final to black as he draws his last breath.

(A critical scene within the book that is a divergence point or monumental point in Azoth to Kylar transition. Best illustrates to world they live in as well as capable of being a short movie. As Azoth is dieing and inbetween text, it take us into flashback like affect to shows us a montage of scenes from within the movie, builts up a suspense and illustrates to genre and theme of movie as well as a character profile of a protaganist.)

Edits:-

Several scenes had to be removed due to some problems that occured. The deletion of a few scenes caused large gaps inbetween dialogues. To overcome this, I deleted all dialogues and replaced it with narrations. Several scenes were changed to relate to the monologues.

Because of all the setbacks, I had to implement a simplified version of filming.

Problems & Solutions that occured:-

Because of the lack of finance, I asked a few of my friends who are in the perfoming arts to join contribute as actors to the trailer. One of the problems that arised was scheduling due to varias actors having different schedules because of this I had several setbacks in organising time for filming. Another problem was lack of commitment from the actors due to this there were setbacks to filming. Communication was another issue that I discovered arose during filming. The unrealibility due to prior commitment with the cast was severe issue as this delayed the amount of time we had for filming and therefore did not have much time to have all scenes and to edit the videos as I had planned. Due to the lack of commitment from my actors, I was forced to play several roles myself. As we had no stunt doubles, injuries were common.

Travel was another problem within monitary issue, however, I was able to scedule a trip to one of the sites in Kent. Once there, although the sight was perfect for the scene I had wished to film because it was winter as well as the costumes being on the light side, the weather proved to be our undoing as it was by the seaside. The harsh cold winds along with the light costumes proved too much for the actors as well as myself in handling the camera. As the weather cannot be controlled, we were forced to abandon plans in using the sight. Chosing to relocate closer to home, I found a few buildings that could be used although the lack of a body of water, I was able to use the site by editting the storyboard squence.

Being my time using film, I lacked several softwares that could have made it easier for me to edit. By using the softwares I already had such as Flash as well as VideoPad, I was able to ensure a form of editing.

Possible endings:-

As an ending, I believe it would have worked by as a trailer the relevance of the Ka’kari is lost to all whom have not read the book. As such, I think it would give away a significant scene within the movie if it were to be shown.

Sword strike as well as throwing knife always seen in relation to assassinations but I felt it were to cliche to be used for the Night Angel.

The Night Angel, in relation to the name…a singular feather floating to the floor…a sense of foreboding…a sense of dread as a black feather desends.

 The wings of a NIght Angel, although the wings has no purpose within the story it’s relation to the name as well as being in black adds to the omnous feel to the theme of assassins. Works best in my opinion.

Final Piece:-

As a final piece, I believe it could be better however as a first attempt at movie making even if only a trailer I would like to think I was able to make it work to the theme and genre as well as relates to the scenes I was portraying from within the book.

Monologue – narrated by Durzo (read by Shaun St-Pierre)

“Embrace the shadows…  Breathe the silence… be ordinary, be invisible… Mark the man… Know every out.”

As the monologue runs, scenes to illustrate the magic correlates to the words. Kylar appearing from within the shadows….to dissappearing and appearing out of nowhere without causing a scene.

“You aren’t making art, You’re making corpses. Dead is dead. Don’t play with your kills. Don’t go for the one thrust beautiful finish. Cut someone 20 times and let them collapse from bloodloss – then finish them. Don’t make it beautiful. You’re not making art, you’re making corpses.”

Speech leads to scene involving a kill, monologue describes the mentality of a wetboy when on a mission (assassination). Leads to a training scene with young Kylar as durzo runs monologue.

“Life is empty. Life is meaningless. When we take a life, we aren’t taking anything of value. Wetboys are killers. That’s all we do. That’s all we are. There are no poets in the bitter business.”

This monologue is spoken by Young Kylar that leads from his training to a fight scene between Durzo and Kylar as a grown up. I beleive there is a bigger impact within the trailer to have the last monolgue narrated by a young Kyale as it imposes the harshness of the world they live in as well as demonstrates his determination to survive this world.

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