John Cassevetes Fact File

John Cassavetes

Date of Birth:
9 December 1929, New York, New York, USA more

Date of Death:
3 February 1989, Los Angeles, California, USA (cirrhosis of the liver)


Mini Biography:
Actor, director, and screenwriter, born in New York City, USA. He studied at Colgate University, then trained as an actor and worked in stock companies. His film debut was in Taxi (1953), and he established himself as an intense actor in films and on television. He used his earnings from a television detective series to finance his first directorial effort, Shadows (1961), which broke new ground with its improvised scenes and free-moving cinematography. Later films include A Woman Under the Influence (1974), which he wrote and directed. He was married to the actress Gena Rowlands.


Cinema Verite
Best known for his cinema verite style films, often using improvisation for the dialogue.



Filmography

As Director
• Shadows (1959)
• Too Late Blues (1961)
• A Child Is Waiting (1963)
• Faces (1968)
• Husbands (1970)
• Minnie and Moskowitz (1971)
• A Woman Under the Influence (1974)
• The Killing of a Chinese Bookie (1976)
• Opening Night (1977)
• Gloria (1980)
• Love Streams (1984)
• Big Trouble (1986)


As Actor
• Alfred Hitchcock Presents (1956) Episode: "You Got to Have Luck"
• Edge of the City (1957)
• The Killers (1964)
• The Dirty Dozen (1967)
• Rosemary's Baby (1968)
• Husbands (1970)
• Two-Minute Warning (1976)
• Mikey and Nicky (1976)
• Brass Target (1978)
• The Fury (1978)
• Whose Life Is It Anyway? (1981)
• The Incubus (1981)
• Tempest (1982)
• The Haircut (1982)
• Marvin & Tige (1983)

1 minute film *so far*

Location Scouting

After searching around a few places for locations I have found 2 perfect locations which are basically out my back garden.


The first location will be used for only a small section, but I think it is a good choice as it allows for some great ECUs in the massive field.

The second location is were the majority of the film will be taking place. The cabin is also a part of the property; both of which I have permission to use.

Statement of Intentions

Capture explores the theme of entrapment. The audience are placed beside this helpless teenage girl who is being held captive for something completely out of her control. During this time the audience will ‘slip in and out of consciousness’ just as the girl does to experience the same sense of disorientation and fear. The end, however, will break this format. The audience will get to experience something the girl does not and this extra knowledge will heighten suspense and tension. The questionable morals of one of the characters will also provoke an interesting argument in the audience, similar to that to of the torture dilemma of today.

Capture begins with a teenage girl who is being held captive by two mysterious men. This raises several enigmas. Who is this girl? Why is she being held captive? Who are these men? What do they want? Slowly information is revealed through dialogue overheard by the girl. The girl is going to be traded for drugs, which her father, a police officer, found and impounded. As the film reaches its climax a twist occurs. The girl comes into harms way forcing the undercover cop to reveal himself. He explains that he works with the girl’s father and that it was her father’s plan to tag the drugs they were going to trade and track them back to a larger evil.

The film’s narrative feels like it is apart of something much larger than the short story the audience get to consume. This idea was inspired by Drew Goddard’s (writer) Cloverfield and more aptly, Simon Hynd’s short film, Virus, both of which deviated from the conventional Hollywood narrative structure and felt like they were just a cross-section of a much larger narrative. This technique leaves the audience enveloped in the diegesis of the film for longer, allowing them to toy with different ideas and theories of their own. However there is a inherit danger with this kind of narrative as well, as if it is not implemented correctly the audience can feel cheated out of a resolution. This is something I hope to avoid by heavily placing the audience beside the main character and resolving her story.

In short films, I feel that narrative devices, such as flashbacks, can convolute the storyline if not used well. Therefore seeing as I have already a fairly complicated back-story to convey to the audience, I have opted for a linear narrative structure.

David Fincher’s Panic Room largely inspired Capture, as it very effectively explores the theme of entrapment, even though it doesn’t feature a kidnapping. However, Fincher’s directing along with Darius Khondji’s (Cinematographer) input has been a much larger influence to me in terms of visual style. Together they create an astonishingly heavy and dark atmosphere in all their films. My aim is to convey a similar dark atmosphere visually and aurally to connect the audience to the main character who is experiencing this atmosphere first hand.

In Fincher’s work the dark atmosphere is a visual expression of one of the character’s psychology, usually the antagonist, and a sinister look at the human mind. It is by exploring the human mind in this way, that Fincher is able to manipulate his audience and have the intended disturbing effect in films such as ‘Se7en’ and ‘Zodiac’.

Fincher and Khondji comprise their trademark mise-en-scene using a number of techniques. The most obvious feature is the extreme use of low key, high contrast lighting. This technique is clearly influenced by German Expressionism and its harsh contrast heightens suspense and tension within the audience. Another feature to the mise-en-scene is the almost surreal use of colour temperature. Fincher and Khondji achieve this effect in both production and post-production. In production different lights are used to gain a different colour temperature, Fincher’s most common being UV lights for a blue colour temperature and fluorescents for a green colour temperature. In post production the colour temperature is enhanced to a near ‘super-real’ or surreal level.

Many of Fincher’s films share a similar structure to Capture and are slow yet tense and suspenseful until the end, when a fast paced sequence takes place. To successfully keep the slow pace interesting and tense, Fincher very slowly moves the camera. Sometimes this is by tracking characters or by tilting and panning to reveal something important in the scene. This technique has the ability to keep the pace of the film flowing and can be much more stimulating for the audience to watch.

Sound and music is an extremely important aspect of a film and when utilized correctly can heighten suspense much more successfully than visual style and narrative. One of my biggest inspirations in music for films is the composer Michael Giacchino. Giacchino very effectively adds a lot to the tension through slow crescendos, eerie strings and thunderous brass. His work has inspired me to use a similar epic ‘sound’ in Capture.

In Capture I plan to have a similar effect on the audience, using ideas influenced by these techniques, to the best of my budget and ability. For lighting I will be using whatever resources I can get hold of. This includes using make-shift dampeners to create filler lights and using strong torches for the key lights. Key lights will be very important in Capture as it will feature low key, high contrast lightning. The dark shadows created by the strong lights will invoke fear and tension in the audience as it plays with human’s fear of the unknown. This technique is being used as it manipulates the emotions of the audience to parallel that of the main character.

As I do not have access to UV lights or fluorescents I will be changing the colour temperature in post-production. This, however, suits the visual style I am aiming to achieve which will slightly deviate from the common colour temperatures. I have chosen this technique as it will have a disorientating effect on the audience and signify something is wrong with the situation in the film.

Capture will also feature slow camera movement in many of its shots. This technique will be used to keep the pace flowing effectively and make the final piece much more interesting to watch. It will also be used in combination with high, low and dutch angles, in certain places, to convey the disorientation the main character is experiencing.

While a live orchestra is not an option for Capture, I have access to people who play both the drums and violin, therefore I will be able to work with them and produce an original score for Capture. The score is aiming to increase suspense and slowly build up to the climax of the film. The score will be using a similar eerie strings effect inspired by Michael Giacchino as well as underlying sound effects and tense percussions.

In Capture I aim to create a heavy atmosphere that will keep the audience in suspense for its entire duration or perhaps even longer, through an impressive visual style, an epic sound and original narrative.

Inspiration and Influences

David Fincher
Director

The young Fincher loved to draw, sculpt, take pictures and tape record, but after watching Butch Cassidy and The Sundance Kid he was inspired to make films. Fincher decided to skip film school, instead he got a job loading cameras for John Korty of Korty Films. In 1984 got the chance to direct an advert for the American Cancer Society. The advert put Fincher in the spotlight and many companies hired him to direct their adverts and soon enough he broke his way into music videos. In 1992 Fincher made is feature debut with Alien 3 and it began with a great start but also great pressure as at the time it was the most expensive film ever made by a first time director. Fincher fell back into the music video world, until his second film and major success, Se7en, in 1995.

As a director Fincher is renowned for one thing, creating a very dark atmosphere in his films and this is what I want to achieve in my film. Fincher has been a large influence for me because of his outstanding ability to create an strong atmosphere through use of all a films' elements. This ability has inspired a number of different techniques I now want to achieve in my film.

Low key, high contrast lighting is a particular trademark of Fincher's work. The harsh shadows give the effect of danger around every corner and is clearly influenced by German Expressionism. I will incorporating this technique because the darkness adds a heavy atmosphere that heightens tension; which is what I am trying to achieve. Blue /green colour temperatures are very apparent in his work as well and they add an unnatural feel. If possible I would like to implement this into my film through the use of fluorescent lights. Fincher’s most impressive camera work is that of the Fluid Tracking Camera, a digitally enhanced technique that allows the camera to access anywhere, developed by himself, Kevin Haug and BUF Paris. The best example of this is in Panic Room as the camera flies around the 3 story building never seeming to cut for almost 3 minutes. While I cannot use the digitally enhanced method I would like to create a disconcertingly long shot that seems to access somewhere that it should not be able to as it disorientates the audience and therefore builds tension and keeps them alert.

While I believe Se7en is Fincher at his best, it is the atmosphere created in Panic Room that has been more of an influence to my piece as it is a dark, tense atmosphere without the disturbing element to Se7en.

Darius Khondji
Cinematographer (D.O.P.)

Darius Khondji is Fincher's go to guy for cinematography but has been the Director of Photography for many other dark films such as The Interpreter and The Beach.

He became interested in film as a child and made Super-8 films in his teens. He moved to the United States to study at the age of 19 and majored in film from New York University and the International Center for Photography. Two of his teachers there influenced his decision to become a cinematographer as he realized that he "wanted to do was shoot the other students' films".

Khondji and Fincher work well together as they have a similar vision of what they want. The visual style of Fincher's films owe a lot of credit to Khondji as he focuses purely on the visual aspect while Fincher has to concern himself with all the aspects to the film. Again it is the same elements I want to use that were described in the fincher section as they work very closely together and it is impossible to know who was the brain behind each bit.

Michael Giacchino
Composer

Michael Giacchino is an American Soundtrack Composer who has composed several multi-award winning scores for many popular movies, television series and video games. Giacchino's work covers many fields, from children's comedy Ratatouille to fast paced action Mission Impossible III.

His inherit ability to capture exactly the 'right' sound for the situation is inspiring. His work in the television shows Lost and Alias are my favourite, as Giacchino very effectively adds a lot to the tension through slow crescendos, eerie strings and thunderous brass.

Youtube Example

Because of the effect I have seen can be created purely with sound from Giacchinno it has made me be much more ambitious with my plans for the sound and while a live orchestra and full score isn't possible, I will be working to create a similar epic feel and strong tension through the facilities that are available.

Film Script v2

FADE IN:

Scene 1 - The Beginning of The End

EXT. - DAY

Clouds speed past in the sky.

The sound of a car getting closer can be heard as we tilt down to see a large field closed off by tall, ruined walls.

A figure can be seen stumbling into the middle of the field.

As the figure falls to the ground a car comes into shot.

The person in the car gets out and runs to the collapsed figure.

ALEX

Tanya… Tanya… are you ok?

TANYA
(Mumbling)
Alex… al…

ALEX

(Whispering)
Everything’s ok, you’re safe now!
(pause)
You’re safe now!

Scene 2 – You’re safe now!

INT. - NIGHT

TANYA is awoken by the sound of a car pulling up.

She struggles to free herself but cannot slip out of the rope.

A figure walks into the cabin.

TANYA
Noo… (sobbing) please… not again.

The figure takes a needle to TANYA’S neck. While doing so he places something there then fiddles with the rope at the back.

As TANYA falls unconscious she overhears the figure on the phone.

CAPTOR
I don’t care how you get the information from your father. Imagine what the head of MI6 will say when he finds out I have both his daughters under my control!

(Pause)

Do I need to remind you I have your sister. Get the information and we'll trade tomorrow at 2.00. The Carpark.

EXT. - DAWN

TANYA wakes up. She notices that she is alone and notices the phone sitting on the table.
She once again makes an attempt to free herself. She smashes the chair and grabs the phone.

She scream’s when she realises there is no signal.

She then begins to run.

A car engine can be heard getting closer. Panicked, TANYA runs into a green house to hide.
She waits for the moment her CAPTOR goes into the cabin and begins to sprint.

Scene 3 - The Trade

EXT. - DAY

ALEX waits for the CAPTOR to appear in her car.

ALEX

What am I doing? This is treason!

ALEX slams against the steering wheel. The car horn sounds. She rests her head on the steering wheel.

She is startled by a car and snaps up. The captor is a hundred yards forward. She notices he doesn’t have TANYA.

ALEX
She’s not there! She’s not there!

As the captor walks forward, ALEX speeds off in her car.

Scene 4 - Signal and Rescue

EXT. - DAY

TANYA falls to the ground after running for so long.
She checks the phone for signal, gets some and begins to laugh. She dials her sister’s number.

TANYA
Alex… Alex… (sobbing)
(pause)
I’m in the woods… there’s some ruined walls about… I see a big gravel field in front of me.
(pause)
You know where I am.
(pause)
I’ll stay right here.

Scene 5 - The End Of The Beginning

EXT. - DAY

TANYA stumbles into the middle of the field.

She falls to the ground as ALEX’S car comes into shot.

ALEX gets out and runs to TANYA.

ALEX

Tanya… Tanya… are you ok?

TANYA

(Mumbling)
Alex… al…

ALEX

(Whispering)
Everything’s ok, you’re safe now!
(pause)
You’re safe now!

TANYA

Alex… I don’t think…

ALEX
Sssh, It’s ok.

TANYA
I don’t think this was ever about… me!

ALEX comes to a sudden conclusion. She searches TANYA. On the back of her neck she finds a tracker.

TANYA
Wha… What are you doing?

ALEX stands up in shock. BANG! The CAPTOR is revealed behind her. He swings a branch toward her head.

THE END

Film Treatment v2

Title:
Capture


Duration:
5 minutes

Main Characters:

Alex – The Protagonist. 21 years old. She is driven to take the actions she does by the threat on her sister’s life. She is a strong character that has been broken down by a situation that is beyond her capabilities. In order to get her sister back she must regain that strength and make the hard choices.

Tanya – The Victim. 14 years old. The sister of Alex. Tanya is the innocent child who must be saved. She has been caught up in a complex situation that she knows nothing about as she has no idea what her father is.

Captor – The antagonist. 45 years old. The captor’s name and loyalties remain unclear however his actions clearly make him the villain of the narrative. He is trying to obtain information about the girl’s father and what he does. He is the one who has orchestrated the plan that drives the narrative.

Synopsis:

Beginning:
Tanya stumbles her way into the middle of a field as her sister, Alex, arrives in a car. She falls to her knees and collapse. Alex sprints to Tanya lying on the ground.

Conflict:
We flashback to Tanya being held hostage. Her captor arrives back and takes a needle to her neck. He is looking for information from Tanya’s sister, information about their dad and his job in the government. Tanya escapes and foils the captors plan to trade the information for Tanya. The captor and Alex meet later that day but Alex notices Tanya is not there and speeds away.

Resolution:
Tanya manages to contact Alex and they are reunited. As Tanya lies wearily in Alex’s arms Tanya explains how she believes it was never about her. Alex suddenly jumps to a conclusion and starts frantically searching Tanya. She finds a tracker on the back of her neck. She stands up in shock to look around. BANG! The captor knocks her out.

Soundtrack/ Score:
An original score featuring violin and percussion.