THE INSIDE JOBEvaluation

QUESTION 1

Inspiration

Two films I drew the most inspiration from were

Michael Caine crime thrillers „Get Carter‟ (1971, Mike

Hodges) and „Harry Brown‟ (2009, Daniel Barber).

Firstly I took elements from the

stories of each film to create a basis

of which to work on for „The Inside

Job‟, most notably, a convention of

this genre of film, a tale of revenge,

in both films, for the death of friend

(mine being the death of henchman

come bestfriend to my character,

Thomas Michael Hodgetts).

Visual Aesthetics

I mainly adapted the trailer using the grungy

1970‟s pulp noir aesthetics with urban

atmospheres and blocky yellow captions of

„Get Carter‟ (1971). The look and feel of the

visuals aswell as the storyline and criminals

depicted throughout, was something that

appealed to me, and was something I wanted

to reproduce.

conventions

LOCATION: I attempted to find very dirty, grungy and

urban atmospheres to adhere to the style and

representation of gang locations and the concrete

look of film such as „Get Carter‟, and „The Ipcress

File‟ (1965).

REPRESENTATION OF CHARACTERS: I

assembled a cast I felt were able to reflect and

portray the different levels of the hierarchical structure

of criminal organisations on each side during the film,

so some taking orders from rogue amateur leader of

the Irish travellers Shane O‟Donnell (Jamie Newdeck)

and henchmen and „little fish‟ who are roped into the

gang‟s dirty work by the main organisation, Harry

Mitchell (Me).

Conventions ii

MUSIC: I chose certain pieces of music to create

segments within my trailer to create a certain

atmosphere with a collection of clips from a specific

part of the film to give a feel of the story. So for

example, I used “Bullwinkle Part II” by The

Centurions (1964) with the confrontation scene

between Tom Hodgetts and Tom Griffith leading upto

the stab to create a sense of danger. I also used

“Shipping Up To Boston” by Dropkick Murphys (2004)

as the main piece of music with a montage of clips to

underpin the theme of the film with the Irish criminals

who create the problem in the narrative.

Posters I

I orginally did this poster as a landscape piece based on the „Scarface‟

(1983) poster and the composition of the 2005 re-release poster of

„Rebel Without A Cause‟ (1955); however, as much as I liked the layout,

I felt that the title isn‟t big enough, and just fades with the background,

hence why I split the piece into two parts and altered the font colour to

stand out.

Posters Ii

I designed a Japanese version of my poster based on the Japanese

version of „Deliverance‟ (1972) to appeal to the Japanese market and

sell overseas, with the main elements and events summarised in images

as does the Deliverance one to portray to a foreign audience the genre

of the film.

Posters iii

This final version of the poster, I loosely based on

some character posters I saw for recent Tilda Swinton

film „We Need To Talk About Kevin‟, which had a

character shifted to the right and text reviews packed

out on the right which I thought was particularly

effective as it fills the space neatly, and advertises the

product well.

POSTER CONVENTIONS

The title is the

largest object

and/or piece of

text on the entire

composition, and

colour scheme

wise clashes

well white on

black in order

for it to stand

out well, catch

people’s

attention and

ultimately, sell

the product.

The actors names

are clearly

displayed at the

top, in opposing

colours, (and

different colours

to the white and

yellow reviews

in a smaller font

beneath) to head

the poster.

The image fades

into the

background but

stands out well

with the overall

theme, and stands

out by having all

the text fitted

around the

photograph,

filling the space

nicely.

The films tagline in a different colour font

to the reviews and title to grab your

attention first after spotting the title, and

it neatly layed out filling a precise space.

Movie website

link displayed at

base of poster

Names of cast and

crew displayed,

with ranks, and

production title

above casting.

Numerous reviews

in different sizes

with a tagline

from the review

source to fill the

blank space and

sell the film.

Posters iv

These character posters follow the same layout as the

official poster to make a recognisable layout, with

actors names and their character taglines to give

tasters of that character away on the poster, and a

release date larger than the actor title to let people

know when it opens.

MAGAZINE

I chose Total Film magazine as I enjoyed the aesthetic

and layout of images in relation to text and colour

scheme, so I incorporated the general layout for „The

Inside Job‟ special edition

MAGAZINE CONVENTIONS

I replicated the

Total Film logo

vector on

Photoshop using

block colour

shapes to create the

word, and

overlayed ‘Total’

into the top third

of the ‘F’.

To create an

authentic design, I

incorporated real

upcoming spring

releases to

surround the image. I created an image

bar like a film strip

to lay over the

image to advertise

inside information,

as seen on some

issues of Total Film

and Empire

magazineI included the

Future Publishing

logo and combined

barcode as the real

Total Film has.

Price and magazine

publishing date,

included with the

Total Film website

in the rift of the ‘M’.Centralised image

with target motif

related to the

theme of the film,

overlapping the

logo as the

magazine models

often do.

Large title at base,

just smaller than

logo to grab

attention.