I felt that the film in it’s entirety was great. It had a simple and solid plot, it was witty, it was well executed. Most of all, it was genuine. I love the fact that the story is in reverse chronological order, where they show the end first. I was engaged from the start. The script was brilliant, and having an exceptional cast (guy) to complement it just makes it perfect. One thing that did not stand out to me was the female lead. The male lead overshadowed her throughout the film, which did not lead to the ‘spark’ between them that I was expecting. The cinematography was slightly clumsy as some scenes were not framed properly, and subjects were sometimes out of focus. I feel that it is fairly difficult to film a short in just 2 confined locations, and Rolling was able to pull it off. Overall, it was a good short.

According to Week 3’s reading, Creating the Sound Design, Alten proposed that listening is perceiving sound with careful and responsive discrimination. I find it very relatable as I feel that sound, like all senses, if not paid specific attention, is subconscious stimuli. In my opinion, good sound design is sound that captures the attention the audience. It is not to be assumed that all sound in a film is ‘picked up’ by a listener, as a single prevailing sound might capture the listener’s attention and every other accompanying sound is just blocked out. I think films with brilliant sound design are the ones that are able to truly captivate me.

He also said that it is pivotal to use the correct type of microphone. Pitch, tempo, dynamics, etc, are all crucial elements in sound recording. In relation to the first point, listening may be selective, but the microphone is not selective. Therefore, I think it is important that we take a careful approach towards sound design – picking up what you ACTUALLY want.

The soundscape of Clown Train has undeniably played a big part of the film, as it successfully generates an eerie and uncanny atmosphere. The constant rattling of the air-conditioner and frequent sounds of flickering lights creates an unsettling mood and has contributed much to the entire atmosphere. The 30-second intro was exemplary as it provided significant build up to the setting of the film. The drum audio that is played along with the abrupt shots of the clown gave it much more character. The constant percussions and music gave it a really sinister undertone.

The clown reminded me of the Joker in The Dark Knight, who had outstanding dark humor and ominous characteristics. Although really incomparable with the immense budget and setting of the Hollywood blockbuster and outstanding acting of the late Heath Ledger, the setting and tension portrayed in Clown Train came in good comparison. The constant utilization of build-up music to immense climaxes in The Dark Knight was what I really thought could be applied to Clown Train and make it a much more captivating performance.

In the Week 1 reading, he says,

I get my ideas from all sorts of “unimaginable” areas. Some are bizarre, some are ‘normal’, but when put on specific mediums, they are sometimes perceived as a radically different idea and piece from what was originally proposed.

She also mentions that ideas for a film could be anything, and ultimately a plot or structure has to be constituted for that idea, but they do not necessarily have to be starting points. I find myself subjugated to a ‘system’ whereby I brainstorm, and I write the script or screenplay. Plunkett’s fine examples show exactly how do you actually ‘get’ an idea.

“I am God.”
When these words were projected, I was fairly fascinated. It is true that beauty is in the eye of the beholder, but I believe that it is my job to ensure that this beauty is shared. To be a screenwriter is to be god, to be the creator of your own world, to be able to realise and construct a dreamscape – full of possibilities.
I have always wanted to convey my views and perspectives of beauty through lens and film, and I believe that screenwriting is the pillar of all of it.