11:14

Just finished watching 11:14 which deals with essentially one big story that converges around 11:14pm, told from different perspectives. Each new perspective tells a new part to the story and in the end you feel that you've learnt the answer to all your questions. This is where I start to analyse the way that they used perspectives to tell the story...

I'll just jump in to what I noticed the most out of the entire film. From looking at the DVD case, you get the complete wrong genre of what this film is about. To me, I thought it would be some sort of drama thriller of some sort. Turns out it's a dark comedy which essentially means drama with a comedy approach.

The comedy of the whole film comes across mainly from the music, for example there is a scene where Patrick Swayze is dragging a dead body to his car boot and the fact there is comedic, light music playing means that you find it reasonably funny. It was this scene in fact where I first thought about the role that sound could play. I was thinking that if this scene was kept exactly the same way but played with more sinister music, you would have a completely different emotional connection to the scene. Now, I know sound is extremely vital to film and one without the other will give you something, well, kind of lame. But I never considered fully the possibility of it changing the whole genre. So there is definitely some research that can be conducted there that will help me in separating the genres of both Sam's and the parents perspectives.

In total, there are five different perspectives given with the final perspective being the one character that links everyone together and in turn explains most of the story. I have been thinking ever since I found a list of films that deal with telling different perspectives of the same story, what if I could do the same with The Wardrobe? Starting with the Parent's POV and mix it in with the odd shot of Sam to make the audience wonder what he is up to and then BAM, Sam's POV kicks in for the fight scene with the actual monster and the audience is left in the same position as the Parents. Now the issue is that it could be too close to the separate Parent's POV but just with bits of Sam thrown in. I prefer this idea at the moment because it's a little bit more meatier and is essentially the same story but with the main character being the parents. So with what i've been considering regarding sound, my current thought pattern is exploring ways to tell the same story in as many different styles as possible. Hmmm, sounds shit to be honest saying that and feels more like here's a few different edits I made but couldn't make my mind up which was best. If I just keep coming up with ideas, I can then hone on one. So the ideas are:

- Sam's POV
- Parent's POV
- Mike's Edit
- My Edit (which is the parent's as the main character)

Hmmmm, that may not be that bad but it definitely needs some consideration of some sort. Maike said is there any other films that I could add to it and i'm pretty sure that'd be difficult, so I may turn to the films i've worked on previously to see if I could play with perspective there. The easiest one is probably going to be Steve but i'd have to think quite a bit about it.

What I aim to do is watch a film everyday that deals with perspective, write about what I thought about the film and what it made me think about my project. That's probably what is defined as theoretical underpinning in the last blog, comparing examples to my current work and showing research. Maybe. I dunno. Tomorrow I will watch either An Inspector Calls or Pulp Fiction. I'm feeling Pulp Fiction. I'll watch an Inspector Calls on Wednesday and then Vantage Point on Thursday. By which point I should have a few other films like Melinda & Melinda to watch. This has actually been good help!