Question - are superhero films on the decline???
First thoughts: no, not at all. One reason for this is that the past few superhero films have made a lot of money from the box office, for example the last superhero film Spiderman: Far From Home made over 1 billion dollars from a budget of 160m dollars which shows that audience interest is still there as audiences are still coming out in their thousands to watch these films, these numbers give Marvel no incentive to stop making said films as it's clear that any Marvel related project will automatically make money as the audience have become accustomed to Marvel's high quality. The theorist Steve Neale categorized that audiences expect 'instances of repetition
However, since writing Marvel have lost the rights to Spiderman which means they'll not be making any Spiderman films for the time being, damn you Sony), regarding the audience opinion: the film received an overall 95% audience score on Rotten Tomatoes, this shows that not only are Marvel films financially successful, but critically acclaimed.
Source(s): https://www.rottentomatoes.com/m/spider_man_far_from_home, https://www.boxofficemojo.com/movies/?id=spidermanhomecoming2.htm
Thursday, 26 September 2019
The Oddfather Part 2 - script
Chapter 0.5: The Beginning
[Carmine Angelo is seen, holding a picture of himself and Pasquale Aprile, reminiscing over the past events]
Chapter 1: Reunion
[1 month after the events of the first film, we see Carmine Angelo walking through a street into his safe house that we saw in the first film, Angelo enters the house and the door closes]
Carmine: Where did I go so wrong? This room brings back memories, nightmares even, knowing that Pasquale spent some of the last moments of his life... here, oh how I failed you, my friend.
[The scene then cuts to an unknown figure walking through the same street and seemingly to Angelo's safe house, there's a knock at the door]
Carmine: (with a confused look), huh? Who's that? I never told anybody about this place, except for.... no, it can't be?
[Carmine picks up his gun and walks to the door, he can see someone but he can't make out whom, as he gets the closer there's background music, it gets quicker and louder, the door opens]
Pasquale: Surprise... I'm Pasquale Aprile, a gangster, and I come back to you now at the turn of the tide.
Carmine: (looking shocked), uhh.... yeah c-c-come in, we have a lot to talk about. Business has been.... slow.
Pasquale: I would love to, I never thought I'd see Murrayfield again, but I can't come in, brings back some dark memories, come outside.
Carmine: Of course, let's walk and talk.
[Carmine and Pasquale begin to walk through the street and talk about mafia business]
Carmine: We got him good, didn't we?
Pasquale: (With a smirk), yes, indeed we did. Rizzo fell for it, after laying low for so long I missed the thrill of this life, and now I have more reason than ever, let's take down John Rizzo....
Chapter 2: War is Coming
[The scene begins with a close-up of John Rizzo in his office]
John: (John is talking to someone but we do not know who) Been ever so quiet lately, hell, I'm beginning to miss Angelo and his little crew, the Testa's were a good family, shame Aprile had to go.
(The camera pans out, and it's established that he's talking to Rizzo family soldier Angelo Marianucci)
Angelo: I never had any experience with those guys until the Aprile beef, weren't you and Carmine close before?
John: Yes, I will admit. We were in a street gang called The Romans, we were both young at the time. It was headed by Anthony Testa, you know, the guy who the Testa family is named after.. Testa loved Carmine, he had Carmine handpicked to be a boss from day one, even when Testa disbanded the Romans he was sure that Carmine was going to take his spot when Testa eventually died... I was left in the dark, I felt unappreciated, so I left, and the Rizzo family was born... Pasquale was apart of this too, he was always Carmine's right hand man.
Angelo: I didn't realize there was so much history, I guess this situation was a long time coming... It's a shame, war is never good for business
John: You're right, although I know Carmine, even with the odds stacked against him, he'll never stop until he's dead, you shoot him in a dream, you best wake up and apologize.
Chapter 3: Testa comeback
[The scene cuts back to Carmine Angelo and Pasquale Aprile in a public place, Carmine is sat down and Pasquale sits close to him but not too close]
Carmine: So, how are we going to do this? I was hit hard by Rizzo moving in on everything, all I have is numbers, I barely make enough to get by, Rizzo didn't think it was worth the hassle, he had to leave me something I guess.
Pasquale: That's true, and to tell you, I don't know. I've been laying low so mob strategy hasn't really been on my mind lately. Maybe we go in all guns blazing, whack some of them.
Carmine: Well, it would make my life harder, Rizzo would go insane. I suggest that we.... call a few friends of mine in Rizzo's circle, I still have one or two tricks up my sleeve.
Pasquale: Who? I would've assumed you were on everyone's bad side
Carmine: Angelo Marinucci and Enzo Savastano.
Pasquale: Enzo?! The guy who was with you on the day I was supposed to be clipped? You're walking a thin line, can you trust them?
Carmine: I'm not sure, but we'll make sure they do if they still have any objections. We'll have to get our hands dirty, but in this situation: we've got no choice.
Pasquale: Agreed, it's either we take Rizzo down or we die trying. Testa would've done the same thing, I wonder how he dealt with conflict back in the day.
Carmine: I wonder that too, coming up we were kept out of the loop when he was in a beef with Joseph Anastasia, we were told that he had it under control, I wish I had this under control, I wish life was easier. So, we're going to kidnap Enzo and Angelo, let's go.
[Music plays while they get up and leave]
Chapter 4: Into Action
[The scene begins with an establishing shot of a park entitled: Ezra Park, Angelo is walking]
Carmine: [In balaclava type headwear] Hello, Angelo, long time no see, eh?
Angelo: W-what the... Who are you? What do you want?
Carmine: Don't make this harder than it needs to be, just come with us, and nothing bad will happen to you, I promise.
Pasquale: [Also in mask], he's right Angelo, we've always thought you were a good man despite being with Rizzo, come on, play nice.
Angelo: What the? Are you with Gambetti...? I mean we're sorry but the drug business was rightfully ours, your guy wasn't holding his end of the bargain up, we had to take control!
Carmine: We aren't with Gambetti, that idiot to put it nicely means nothing to us, we're just friends of Rizzo. Pasquale.... let's get him
[Carmine Angelo and Pasquale Aprile capture Angelo Marinucci and knock him out, he then wakes up tied to a chair with Carmine and Pasquale unmasked]
Angelo: Where am I...? What happened....?
Pasquale: You're in hell, welcome. Now, I think you remember me, don't you not?
Angelo: Pasquale... I thought you were dead, we told Carmine to kill you.
Pasquale: You're right, but sadly for you and the entire Rizzo family, I can't be killed, and I'm not going to start now. Well, I've done enough talking, let's have Carmine come in and explain what's going to happen to you.
Carmine: Thank you Pasquale, now, we're not going to torture you.... we think. But if you go running to Rizzo then we'll have to take action, we have soldiers outside your home, you do anything, you'll be slaughtered before you can even say mozzarella.
Angelo: I guess I don't have a choice... Let's go
[Carmine Angelo and Pasquale Aprile leave Angelo Marianucci tied up and leave the room]
Chapter 5: Rizzo's Trumpet!
John: [Talking to himself] What the, where is Angelo? It's been a few days and he hasn't showed up, I have a bad feeling about this, it can't be Carmine, can it? No.... he wouldn't dare.. Or would he? That stupid son of a.... FUCK! I should've killed him and Aprile with my bare hands, but he's by himself so how did he get Ange? Unless....? No... he's alive....?
[The scene cuts to Carmine on the phone to an unknown person]
Carmine: I need your help, I need some guns... fast, I can't say much but I really need you to help. Meet me somewhere discreet, I'll text you the details later. Thanks.
[The scene then cuts to the location meet, Carmine meets his contact, the arms dealer Russell Johnson]
Russell: Never thought we'd meet like this that's for sure. Why isn't Rizzo dead yet, everyone hates him yet he's now at the top of the mafia, what happened?
Carmine: A lot, you know Pasquale stole from Joey, I was told that I had to kill him but I didn't. And if Rizzo even suspects I didn't do it he's going to go to war, which is why I'm preparing.
Russell: Can't blame you, gangsters haven't been known for their patience. Okay, that'll be one thousand.
Carmine: Thanks. Always a pleasure.
Chapter 6: Almost there
Carmine: [Reading the Art of War, by Niccolo Machiavelli, Pasquale enters]
Pasquale: You got them?
Carmine: Of course I do, now, let's back to our 'friend', Mr Marianucci.
Pasquale: I almost forgot....
Chapter 7: First Blow
[Carmine and Pasquale go back into the room where they're keeping Angelo]
Carmine: Hey Ange, hope you've been doing well.
Angelo: How do you think I'm doing? You tied me up, you think I should thank you for that? Thank you for kidnapping me and threatening my family, thank you very much!
Pasquale: Get off your high horse, don't act like you don't deserve this. Associating with Rizzo is enough to have you killed right now, but we can't, because you're apparently useful.. for now. We don't claim to be saints because we're not, but you, you're acting like you have some sort of moral compass. Well guess what? You don't, so shut it.
Angelo: [Looking visibly shocked] Okay I'm sorry that the contract was put on you, if it means anything I didn't hate you that much Pasquale, but the rules are rules, you had to go. If we let you off, it'd send a message that anyone could get away with everything and it'd make us lose face. It was nothing personal, just business.
Carmine: The man has a point, but nobody is squeaky clean. Rules are made to be followed... and broken, we break the law on a daily basis, and people are still shocked when we don't follow even our rules? The world is full of saints and sinners. I don't know what we are.
Pasquale: We're getting sidetracked, business is more important than morals.
Angelo: Yeah yeah, you know Enzo? Savastano? Well I think you should go for him first, he takes a walk by himself sometimes, it's a good chance to start this whole thing off. He runs their drug operations, the one they took from the Gambetti family, you kill two birds with one stone. You kill a guy who wanted your friend dead, and you hit Rizzo where it hurts most, his pocket. I think
Carmine: Let's do him, he won't know what hit him. Call him and set it up
Angelo: [On the phone], Enzo...? Yeah it's Angelo, meet me at Ezra Park, I have something on Carmine. 30 minutes? Yeah, sure. See you then.
Chapter 8: The End of Enzo
[Enzo Savastano is walking through a park]
Enzo: [Humming to a song], Strange, Angelo is always the first one to a meeting. He'd be early for his own damn funeral.
Carmine: He's over there. How should we do this?
Pasquale: We'll shoot him, it may attract attention but we've done this hundreds of times before, nothing we can't handle.
Carmine: Sounds good, let's do this.
[Tense music plays, it gets faster as Carmine and Pasquale get closer]
Enzo: Where is Ang- [he gets shot]
[The music that plays while Enzo is dying is the same music from the Godfather where Michael kills Sollozzo and McCluskey]
Enzo's body is seen on the floor, the camera zooms out at his lifeless body
Carmine: I didn't think we had him, thank god we did
Pasquale: It was, Rizzo is going to go ballistic when he finds out..
Carmine: Good, let him. Then the entire Sunderland underworld will rebel against him, we'll take back the power we once had.
Chapter 9: At His Wits
[Rizzo has just listened to the radio, hearing that Enzo has been killed]
Rizzo: I should've killed him, that little rat should've gone with Pasquale. Angelo still hasn't turned up and I'm going crazy over here. I need to do this myself
[The phone rings]
Carmine: [Over the phone] hello John
Rizzo: Listen here you little rat, you're going to die, you hear me? You're done
Carmine: I don't think so, me and a friend of mine, you know him, right? Have started a rebellion against you, I think you'll be clocking out, permanently.
Rizzo: W-what do you mean? You're bluffing, you've got nothing
Carmine: I have something, rising up from the dead, unlike Enzo.
Rizzo: You think you're so special don't you? One day I'm going to get you.
Carmine: You keep thinking that, goodbye John.
Chapter 10: The Oddfather
Carmine: I want to kill John Rizzo. No ifs and or buts about it, he needs to die. It's been too long, he should've been killed instead of Enzo, but it doesn't matter.
Pasquale: Wait, we have to kill Angelo now surely? He knows too much about this, about us. He's gotta go too.
Carmine: I'll give it a thought, let's kill that rat Rizzo first. Something I've wanted to do since Moses wore short pants.
Pasquale: There's nothing more in life I want than to take his. But, I need to have a word with you, now if you will
Carmine: Sure, we've got plenty of time I suppose. Ask away
Pasquale: What shall we do when this is over? I mean, the police will be looking for us after all these killings, the senseless violence, the public won't be happy
Carmine: Since when did you care about the public...? We're gangsters, not priests, since when is it our job to have good relations with the public.
Pasquale: That's true, but I just want to know, are we back in the game? This would seem all for nothing if not
Carmine: That's what I want to say, we should go our separate ways and be done with this. The mob has treat me well, but what's it all for? You can have all the money, the power, but no freedom. How do you think John Gotti felt? He was at the top of the Gambino family but ended up in jail for life, we're lucky, we still have a chance. We'd be doing the public a favor by being rid of that punk. But we're no better.
Pasquale: I suppose, but what will I do? I mean, I'm not good at anything else apart from being a wiseguy. What can I do, be a taxi driver? What am I, Travis Bickle?
Carmine: Well, I don't know. But we're old enough, we can survive on our own, you managed to survive having a hit put out on you.
Pasquale: It doesn't feel that way. I feel like a klutz. The time for talking is over, Rizzo goes today.
Carmine: Let's do this, once we do this we'll be underworld legends. Everyone will remember us.
[Carmine and Pasquale get up and get their equipment ready, they then leave]
[One hour passes and Rizzo is out somewhere by himself]
John: Who does he think he is?? I'm the boss of Sunderland, he doesn't run this town, I do! Carmine Angelo is a nobody, without Testa he'd be nothing and a bum. He'd be on the streets begging for a note! I hate him, so so much.
[Carmine and Pasquale are walking around a known Rizzo hangout, they're desperately looking for him, it is established that they're dressed as undercover police, they have hats on making them hard to recognize from a distance]
Carmine: There he is! We'll pretend to arrest him and put 3 bullets in him.
[Carmine and Pasquale notice him slowing down, then Pasquale runs ahead]
Carmine: Pat!
Pasquale: [Coughs], John Rizzo, you are under arrest for money laundering, fraud, assault, murder, and for the crime of underestimating the Testa crime family.
John: It's you! You are going to regret this, you should've died when you were supposed to.
Pasquale: I'm dead inside anyway, nothing you can do affects me.
Carmine: Do you want to put the bullet in him, or should I?
Pasquale: I've seen enough bloodshed in my short career, you do it.
Carmine: Fine by me... John Rizzo, any last words?
John: Yes, carpe diem.
[Carmine shoots John Rizzo dead]
[The two gangsters say nothing, and just walk away]
[1 week has passed, the two gangsters meet on a beach]
Pasquale: It's been quite a week, I've been laying low ever since, what about yourself?
Carmine: There's still some heat from the cops, but to me it seems like they don't care. Nobody liked him, so like I said before, we're doing everyone a favor.
Pasquale: That is true, but we need to go our separate ways, our goal was to get rid of Rizzo, not become another one, we had some good moments together, ones I'll never forget. Also, whatever happened with Angelo...?
Carmine: I let him go, he did what he had to, even in our thing you only do what you've been told to do.
Pasquale: I didn't think you were capable of mercy, I thought he'd be gone.
Carmine: No, neither did I. But that's the thing, you never fully know what you're capable of.
Pasquale: You don't, but most importantly: I think this is the end for the Testa family, we had a good run, but it needs to end, this life isn't for anybody, let someone else think they can be untouchable, I don't care.
Carmine: I agree, it's been an honour Pat. Good luck with your life, maybe I'll see you again someday.
[They shake hands and Pasquale walks away from him]
Carmine: Amico Nostra.
Carmine: [narration] A quote that always stuck out to me was from a favourite show of mine. "I wish there was a way to know you're in the good old days before you've actually left them" and that is the case here, I've been the king of the mafia, but just as quickly I fell from the ladder. Take it from me: this isn't something you want to do. Goodbye.
[Carmine Angelo is seen, holding a picture of himself and Pasquale Aprile, reminiscing over the past events]
Chapter 1: Reunion
[1 month after the events of the first film, we see Carmine Angelo walking through a street into his safe house that we saw in the first film, Angelo enters the house and the door closes]
Carmine: Where did I go so wrong? This room brings back memories, nightmares even, knowing that Pasquale spent some of the last moments of his life... here, oh how I failed you, my friend.
[The scene then cuts to an unknown figure walking through the same street and seemingly to Angelo's safe house, there's a knock at the door]
Carmine: (with a confused look), huh? Who's that? I never told anybody about this place, except for.... no, it can't be?
[Carmine picks up his gun and walks to the door, he can see someone but he can't make out whom, as he gets the closer there's background music, it gets quicker and louder, the door opens]
Pasquale: Surprise... I'm Pasquale Aprile, a gangster, and I come back to you now at the turn of the tide.
Carmine: (looking shocked), uhh.... yeah c-c-come in, we have a lot to talk about. Business has been.... slow.
Pasquale: I would love to, I never thought I'd see Murrayfield again, but I can't come in, brings back some dark memories, come outside.
Carmine: Of course, let's walk and talk.
[Carmine and Pasquale begin to walk through the street and talk about mafia business]
Carmine: We got him good, didn't we?
Pasquale: (With a smirk), yes, indeed we did. Rizzo fell for it, after laying low for so long I missed the thrill of this life, and now I have more reason than ever, let's take down John Rizzo....
Chapter 2: War is Coming
[The scene begins with a close-up of John Rizzo in his office]
John: (John is talking to someone but we do not know who) Been ever so quiet lately, hell, I'm beginning to miss Angelo and his little crew, the Testa's were a good family, shame Aprile had to go.
(The camera pans out, and it's established that he's talking to Rizzo family soldier Angelo Marianucci)
Angelo: I never had any experience with those guys until the Aprile beef, weren't you and Carmine close before?
John: Yes, I will admit. We were in a street gang called The Romans, we were both young at the time. It was headed by Anthony Testa, you know, the guy who the Testa family is named after.. Testa loved Carmine, he had Carmine handpicked to be a boss from day one, even when Testa disbanded the Romans he was sure that Carmine was going to take his spot when Testa eventually died... I was left in the dark, I felt unappreciated, so I left, and the Rizzo family was born... Pasquale was apart of this too, he was always Carmine's right hand man.
Angelo: I didn't realize there was so much history, I guess this situation was a long time coming... It's a shame, war is never good for business
John: You're right, although I know Carmine, even with the odds stacked against him, he'll never stop until he's dead, you shoot him in a dream, you best wake up and apologize.
Chapter 3: Testa comeback
[The scene cuts back to Carmine Angelo and Pasquale Aprile in a public place, Carmine is sat down and Pasquale sits close to him but not too close]
Carmine: So, how are we going to do this? I was hit hard by Rizzo moving in on everything, all I have is numbers, I barely make enough to get by, Rizzo didn't think it was worth the hassle, he had to leave me something I guess.
Pasquale: That's true, and to tell you, I don't know. I've been laying low so mob strategy hasn't really been on my mind lately. Maybe we go in all guns blazing, whack some of them.
Carmine: Well, it would make my life harder, Rizzo would go insane. I suggest that we.... call a few friends of mine in Rizzo's circle, I still have one or two tricks up my sleeve.
Pasquale: Who? I would've assumed you were on everyone's bad side
Carmine: Angelo Marinucci and Enzo Savastano.
Pasquale: Enzo?! The guy who was with you on the day I was supposed to be clipped? You're walking a thin line, can you trust them?
Carmine: I'm not sure, but we'll make sure they do if they still have any objections. We'll have to get our hands dirty, but in this situation: we've got no choice.
Pasquale: Agreed, it's either we take Rizzo down or we die trying. Testa would've done the same thing, I wonder how he dealt with conflict back in the day.
Carmine: I wonder that too, coming up we were kept out of the loop when he was in a beef with Joseph Anastasia, we were told that he had it under control, I wish I had this under control, I wish life was easier. So, we're going to kidnap Enzo and Angelo, let's go.
[Music plays while they get up and leave]
Chapter 4: Into Action
[The scene begins with an establishing shot of a park entitled: Ezra Park, Angelo is walking]
Carmine: [In balaclava type headwear] Hello, Angelo, long time no see, eh?
Angelo: W-what the... Who are you? What do you want?
Carmine: Don't make this harder than it needs to be, just come with us, and nothing bad will happen to you, I promise.
Pasquale: [Also in mask], he's right Angelo, we've always thought you were a good man despite being with Rizzo, come on, play nice.
Angelo: What the? Are you with Gambetti...? I mean we're sorry but the drug business was rightfully ours, your guy wasn't holding his end of the bargain up, we had to take control!
Carmine: We aren't with Gambetti, that idiot to put it nicely means nothing to us, we're just friends of Rizzo. Pasquale.... let's get him
[Carmine Angelo and Pasquale Aprile capture Angelo Marinucci and knock him out, he then wakes up tied to a chair with Carmine and Pasquale unmasked]
Angelo: Where am I...? What happened....?
Pasquale: You're in hell, welcome. Now, I think you remember me, don't you not?
Angelo: Pasquale... I thought you were dead, we told Carmine to kill you.
Pasquale: You're right, but sadly for you and the entire Rizzo family, I can't be killed, and I'm not going to start now. Well, I've done enough talking, let's have Carmine come in and explain what's going to happen to you.
Carmine: Thank you Pasquale, now, we're not going to torture you.... we think. But if you go running to Rizzo then we'll have to take action, we have soldiers outside your home, you do anything, you'll be slaughtered before you can even say mozzarella.
Angelo: I guess I don't have a choice... Let's go
[Carmine Angelo and Pasquale Aprile leave Angelo Marianucci tied up and leave the room]
Chapter 5: Rizzo's Trumpet!
John: [Talking to himself] What the, where is Angelo? It's been a few days and he hasn't showed up, I have a bad feeling about this, it can't be Carmine, can it? No.... he wouldn't dare.. Or would he? That stupid son of a.... FUCK! I should've killed him and Aprile with my bare hands, but he's by himself so how did he get Ange? Unless....? No... he's alive....?
[The scene cuts to Carmine on the phone to an unknown person]
Carmine: I need your help, I need some guns... fast, I can't say much but I really need you to help. Meet me somewhere discreet, I'll text you the details later. Thanks.
[The scene then cuts to the location meet, Carmine meets his contact, the arms dealer Russell Johnson]
Russell: Never thought we'd meet like this that's for sure. Why isn't Rizzo dead yet, everyone hates him yet he's now at the top of the mafia, what happened?
Carmine: A lot, you know Pasquale stole from Joey, I was told that I had to kill him but I didn't. And if Rizzo even suspects I didn't do it he's going to go to war, which is why I'm preparing.
Russell: Can't blame you, gangsters haven't been known for their patience. Okay, that'll be one thousand.
Carmine: Thanks. Always a pleasure.
Chapter 6: Almost there
Carmine: [Reading the Art of War, by Niccolo Machiavelli, Pasquale enters]
Pasquale: You got them?
Carmine: Of course I do, now, let's back to our 'friend', Mr Marianucci.
Pasquale: I almost forgot....
Chapter 7: First Blow
[Carmine and Pasquale go back into the room where they're keeping Angelo]
Carmine: Hey Ange, hope you've been doing well.
Angelo: How do you think I'm doing? You tied me up, you think I should thank you for that? Thank you for kidnapping me and threatening my family, thank you very much!
Pasquale: Get off your high horse, don't act like you don't deserve this. Associating with Rizzo is enough to have you killed right now, but we can't, because you're apparently useful.. for now. We don't claim to be saints because we're not, but you, you're acting like you have some sort of moral compass. Well guess what? You don't, so shut it.
Angelo: [Looking visibly shocked] Okay I'm sorry that the contract was put on you, if it means anything I didn't hate you that much Pasquale, but the rules are rules, you had to go. If we let you off, it'd send a message that anyone could get away with everything and it'd make us lose face. It was nothing personal, just business.
Carmine: The man has a point, but nobody is squeaky clean. Rules are made to be followed... and broken, we break the law on a daily basis, and people are still shocked when we don't follow even our rules? The world is full of saints and sinners. I don't know what we are.
Pasquale: We're getting sidetracked, business is more important than morals.
Angelo: Yeah yeah, you know Enzo? Savastano? Well I think you should go for him first, he takes a walk by himself sometimes, it's a good chance to start this whole thing off. He runs their drug operations, the one they took from the Gambetti family, you kill two birds with one stone. You kill a guy who wanted your friend dead, and you hit Rizzo where it hurts most, his pocket. I think
Carmine: Let's do him, he won't know what hit him. Call him and set it up
Angelo: [On the phone], Enzo...? Yeah it's Angelo, meet me at Ezra Park, I have something on Carmine. 30 minutes? Yeah, sure. See you then.
Chapter 8: The End of Enzo
[Enzo Savastano is walking through a park]
Enzo: [Humming to a song], Strange, Angelo is always the first one to a meeting. He'd be early for his own damn funeral.
Carmine: He's over there. How should we do this?
Pasquale: We'll shoot him, it may attract attention but we've done this hundreds of times before, nothing we can't handle.
Carmine: Sounds good, let's do this.
[Tense music plays, it gets faster as Carmine and Pasquale get closer]
Enzo: Where is Ang- [he gets shot]
[The music that plays while Enzo is dying is the same music from the Godfather where Michael kills Sollozzo and McCluskey]
Enzo's body is seen on the floor, the camera zooms out at his lifeless body
Carmine: I didn't think we had him, thank god we did
Pasquale: It was, Rizzo is going to go ballistic when he finds out..
Carmine: Good, let him. Then the entire Sunderland underworld will rebel against him, we'll take back the power we once had.
Chapter 9: At His Wits
[Rizzo has just listened to the radio, hearing that Enzo has been killed]
Rizzo: I should've killed him, that little rat should've gone with Pasquale. Angelo still hasn't turned up and I'm going crazy over here. I need to do this myself
[The phone rings]
Carmine: [Over the phone] hello John
Rizzo: Listen here you little rat, you're going to die, you hear me? You're done
Carmine: I don't think so, me and a friend of mine, you know him, right? Have started a rebellion against you, I think you'll be clocking out, permanently.
Rizzo: W-what do you mean? You're bluffing, you've got nothing
Carmine: I have something, rising up from the dead, unlike Enzo.
Rizzo: You think you're so special don't you? One day I'm going to get you.
Carmine: You keep thinking that, goodbye John.
Chapter 10: The Oddfather
Carmine: I want to kill John Rizzo. No ifs and or buts about it, he needs to die. It's been too long, he should've been killed instead of Enzo, but it doesn't matter.
Pasquale: Wait, we have to kill Angelo now surely? He knows too much about this, about us. He's gotta go too.
Carmine: I'll give it a thought, let's kill that rat Rizzo first. Something I've wanted to do since Moses wore short pants.
Pasquale: There's nothing more in life I want than to take his. But, I need to have a word with you, now if you will
Carmine: Sure, we've got plenty of time I suppose. Ask away
Pasquale: What shall we do when this is over? I mean, the police will be looking for us after all these killings, the senseless violence, the public won't be happy
Carmine: Since when did you care about the public...? We're gangsters, not priests, since when is it our job to have good relations with the public.
Pasquale: That's true, but I just want to know, are we back in the game? This would seem all for nothing if not
Carmine: That's what I want to say, we should go our separate ways and be done with this. The mob has treat me well, but what's it all for? You can have all the money, the power, but no freedom. How do you think John Gotti felt? He was at the top of the Gambino family but ended up in jail for life, we're lucky, we still have a chance. We'd be doing the public a favor by being rid of that punk. But we're no better.
Pasquale: I suppose, but what will I do? I mean, I'm not good at anything else apart from being a wiseguy. What can I do, be a taxi driver? What am I, Travis Bickle?
Carmine: Well, I don't know. But we're old enough, we can survive on our own, you managed to survive having a hit put out on you.
Pasquale: It doesn't feel that way. I feel like a klutz. The time for talking is over, Rizzo goes today.
Carmine: Let's do this, once we do this we'll be underworld legends. Everyone will remember us.
[Carmine and Pasquale get up and get their equipment ready, they then leave]
[One hour passes and Rizzo is out somewhere by himself]
John: Who does he think he is?? I'm the boss of Sunderland, he doesn't run this town, I do! Carmine Angelo is a nobody, without Testa he'd be nothing and a bum. He'd be on the streets begging for a note! I hate him, so so much.
[Carmine and Pasquale are walking around a known Rizzo hangout, they're desperately looking for him, it is established that they're dressed as undercover police, they have hats on making them hard to recognize from a distance]
Carmine: There he is! We'll pretend to arrest him and put 3 bullets in him.
[Carmine and Pasquale notice him slowing down, then Pasquale runs ahead]
Carmine: Pat!
Pasquale: [Coughs], John Rizzo, you are under arrest for money laundering, fraud, assault, murder, and for the crime of underestimating the Testa crime family.
John: It's you! You are going to regret this, you should've died when you were supposed to.
Pasquale: I'm dead inside anyway, nothing you can do affects me.
Carmine: Do you want to put the bullet in him, or should I?
Pasquale: I've seen enough bloodshed in my short career, you do it.
Carmine: Fine by me... John Rizzo, any last words?
John: Yes, carpe diem.
[Carmine shoots John Rizzo dead]
[The two gangsters say nothing, and just walk away]
[1 week has passed, the two gangsters meet on a beach]
Pasquale: It's been quite a week, I've been laying low ever since, what about yourself?
Carmine: There's still some heat from the cops, but to me it seems like they don't care. Nobody liked him, so like I said before, we're doing everyone a favor.
Pasquale: That is true, but we need to go our separate ways, our goal was to get rid of Rizzo, not become another one, we had some good moments together, ones I'll never forget. Also, whatever happened with Angelo...?
Carmine: I let him go, he did what he had to, even in our thing you only do what you've been told to do.
Pasquale: I didn't think you were capable of mercy, I thought he'd be gone.
Carmine: No, neither did I. But that's the thing, you never fully know what you're capable of.
Pasquale: You don't, but most importantly: I think this is the end for the Testa family, we had a good run, but it needs to end, this life isn't for anybody, let someone else think they can be untouchable, I don't care.
Carmine: I agree, it's been an honour Pat. Good luck with your life, maybe I'll see you again someday.
[They shake hands and Pasquale walks away from him]
Carmine: Amico Nostra.
Carmine: [narration] A quote that always stuck out to me was from a favourite show of mine. "I wish there was a way to know you're in the good old days before you've actually left them" and that is the case here, I've been the king of the mafia, but just as quickly I fell from the ladder. Take it from me: this isn't something you want to do. Goodbye.
Tuesday, 24 September 2019
Thursday, 19 September 2019
Initial assessment
Following the end of year one we were given a task over the summer to begin our pre-production for our second-year film. In the first year I had made a film called ‘The Oddfather’ which was the story of mob boss Carmine Angelo and his reluctance to have his best friend Pasquale Aprile killed after he robs another member of a different mafia family, he fights a battle against his emotions and eventually he may have to give in to fellow mob boss John Rizzo.
Currently I have completed the script which is quite long and will definitely make my film the required 15 minutes that it needs to be, it shows that I have made suitable progress in my pre-production as the script is normally the piece of pre-production that takes the longest to write so it's lifted a big weight off my shoulders and allows me to focus on other aspects of the pp. Regarding this, I still need to do the storyboard as I'm not 100% sure how I want some scenes to be acted out so completing the storyboard will be the next and logical step, then afterwards I shall focus on the smaller but just as important permission forms, where I need all the actors/locations to have signed off permission for me to use them in my film.
Before second year, I thought I was going to suffer a massive problem, I thought that some people who were in the course on first year were going to be dropping out and I thought I may not be able to do The Oddfather part 2, however everyone stayed on and the problem was avoided, however, if that problem did occur I had a plan to overcome it, I would've wrote out all the characters who wouldn't be able to be in it and still make the plot work, thankfully I didn't have to but that was my solution if a problem was to arise.
My initial ideas for the film is to shoot it in a variety of shots and a variety of locations, my reason being is that is gives the film life because if there was only one location in the film then it would be incredibly bland and mundane and people will slowly lose interest in the film if they see the same location over and over again, these locations will include 'public' places such as the beach and also 'private' locations such as my friends houses as I may use a house as sort of a hideout for my character, also the multiple locations will create tension as my character is a mobster and any open location is quite dangerous for him, so this idea will create tension as you never know what will happen. I choose locations/types of shots based on how I feel the production should be, I feel that the locations I have chose will gain mass interest and will be an enjoyable film.
The resources I require will be cameras, tripods and microphones, I shall go about getting them in one of two ways: way one would be to borrow them from my college as they lend cameras out for all their students and this is how I filmed my first year film. The second way is to 'share' with my friends, as last year too we also helped each other by lending one and another small bits of equipment that we needed which was very helpful and took the pressure off of us somewhat, this method is useful as we can all be getting on with our productions because we'll all have the equipment we need and if not we'll just ask each other if they have a certain piece. These two methods will make sure that getting equipment is easy and will require absolutely no hassle at all.
Considering it was my first time ever making a full fledged movie, this whole process was a massive learning experience to me, it certainly wasn't what I thought it would be. It was a lot more stressful, at times difficult, but ultimately when I did finish it was very rewarding and I was glad to finish it, however, there's still a lot for me to improve on. For example, the amount of 'paperwork' that was required did cause me a few headaches, obviously I knew everything we needed to do but it still did take me by surprise. I did do every bit of paperwork but it was very frustrating at times, needing to meticulously analyse every location for its positives and negatives did agitate me, writing the same thing over and over again gets to you. Overall apart from the paperwork the rest of the process wasn't stressful and I got through it with no hitches, the filming process had no issues although regarding that I was disappointed in myself because of the lack of variety of shots in my film but this comes with experience and with my next film will be a lot better shots wise as they'll look better and will have more advanced shots. I will improve this by not finishing shooting unless I am 100% satisfied with the shot, and it may annoy the actors but deep down I consider the shot more important and will do anything to get it, because not only will the second year film be longer, the marking will be a lot less lenient than first year and I will do everything I can to achieve nothing but the best.
I believe that I have improved on every aspect, because I've actually made a film now, so everything that was new to me is now something I've done, and with anything in life the only way to progress at something is to do it more, and this was a big learning experience for me. It showed how much works goes into productions, at times I felt there was too much work so I couldn't imagine how professional filmmakers feel. How I will improve is taking my time, because last year I felt that I was rushing because I wanted to get my film done as soon as possible which in turn hindered me at times, because when you're in a rush you often 'cut corners', for example there were times were I claimed I was happy with a certain shot when looking back it quite clearly isn't the standard that it should be, so overall I've improved by realising that I shouldn't rush things, I'm also more experienced with paperwork that is needed to be done so this year it shouldn't be an issue. Now I feel more confident as I've finally got used to all the aspects of pre-production and film production overall.
Currently I have completed the script which is quite long and will definitely make my film the required 15 minutes that it needs to be, it shows that I have made suitable progress in my pre-production as the script is normally the piece of pre-production that takes the longest to write so it's lifted a big weight off my shoulders and allows me to focus on other aspects of the pp. Regarding this, I still need to do the storyboard as I'm not 100% sure how I want some scenes to be acted out so completing the storyboard will be the next and logical step, then afterwards I shall focus on the smaller but just as important permission forms, where I need all the actors/locations to have signed off permission for me to use them in my film.
Before second year, I thought I was going to suffer a massive problem, I thought that some people who were in the course on first year were going to be dropping out and I thought I may not be able to do The Oddfather part 2, however everyone stayed on and the problem was avoided, however, if that problem did occur I had a plan to overcome it, I would've wrote out all the characters who wouldn't be able to be in it and still make the plot work, thankfully I didn't have to but that was my solution if a problem was to arise.
My initial ideas for the film is to shoot it in a variety of shots and a variety of locations, my reason being is that is gives the film life because if there was only one location in the film then it would be incredibly bland and mundane and people will slowly lose interest in the film if they see the same location over and over again, these locations will include 'public' places such as the beach and also 'private' locations such as my friends houses as I may use a house as sort of a hideout for my character, also the multiple locations will create tension as my character is a mobster and any open location is quite dangerous for him, so this idea will create tension as you never know what will happen. I choose locations/types of shots based on how I feel the production should be, I feel that the locations I have chose will gain mass interest and will be an enjoyable film.
The resources I require will be cameras, tripods and microphones, I shall go about getting them in one of two ways: way one would be to borrow them from my college as they lend cameras out for all their students and this is how I filmed my first year film. The second way is to 'share' with my friends, as last year too we also helped each other by lending one and another small bits of equipment that we needed which was very helpful and took the pressure off of us somewhat, this method is useful as we can all be getting on with our productions because we'll all have the equipment we need and if not we'll just ask each other if they have a certain piece. These two methods will make sure that getting equipment is easy and will require absolutely no hassle at all.
Considering it was my first time ever making a full fledged movie, this whole process was a massive learning experience to me, it certainly wasn't what I thought it would be. It was a lot more stressful, at times difficult, but ultimately when I did finish it was very rewarding and I was glad to finish it, however, there's still a lot for me to improve on. For example, the amount of 'paperwork' that was required did cause me a few headaches, obviously I knew everything we needed to do but it still did take me by surprise. I did do every bit of paperwork but it was very frustrating at times, needing to meticulously analyse every location for its positives and negatives did agitate me, writing the same thing over and over again gets to you. Overall apart from the paperwork the rest of the process wasn't stressful and I got through it with no hitches, the filming process had no issues although regarding that I was disappointed in myself because of the lack of variety of shots in my film but this comes with experience and with my next film will be a lot better shots wise as they'll look better and will have more advanced shots. I will improve this by not finishing shooting unless I am 100% satisfied with the shot, and it may annoy the actors but deep down I consider the shot more important and will do anything to get it, because not only will the second year film be longer, the marking will be a lot less lenient than first year and I will do everything I can to achieve nothing but the best.
I believe that I have improved on every aspect, because I've actually made a film now, so everything that was new to me is now something I've done, and with anything in life the only way to progress at something is to do it more, and this was a big learning experience for me. It showed how much works goes into productions, at times I felt there was too much work so I couldn't imagine how professional filmmakers feel. How I will improve is taking my time, because last year I felt that I was rushing because I wanted to get my film done as soon as possible which in turn hindered me at times, because when you're in a rush you often 'cut corners', for example there were times were I claimed I was happy with a certain shot when looking back it quite clearly isn't the standard that it should be, so overall I've improved by realising that I shouldn't rush things, I'm also more experienced with paperwork that is needed to be done so this year it shouldn't be an issue. Now I feel more confident as I've finally got used to all the aspects of pre-production and film production overall.
Tuesday, 10 September 2019
Unit 20 - Single Camera techniques.
By definition, 'single camera production only uses one camera for different shots to use in their production' in contrast to multiple camera production which uses more than one camera to shoot various shots at different angles, different distances and they're all filming simultaneously to shoot a scene. Examples of 'techniques' of single camera production include:
Single camera has been used throughout the years of cinema/tv with older examples such as The Addams Family (A show: 1964-66), Kuhle Wampe or Who Owns the World? (A film: 1932) compared to more modern examples such as Brooklyn Nine-Nine (A show: 2013-present), Pi (A film: 1998)
Advantages of single camera
More creative freedom: because a single camera production only requires one camera it allows the director to have more creative freedom in his/her production. An example of this is that tracking shots require you to follow a specific path, whereas the single camera negates that and allows the director to implement other factors into the shot, The Shining scene where Danny Torrance is riding through the hotel is a good example of this, as they could film around the corners whereas if they had done a tracking shot then it wouldn't have turned out as effective as it is because the tracking shocking wouldn't allow such freedom from the cameraman Garrett Brown (who invented the steadicam) and therefore it made the shot itself look better
Because there's only one camera in use, the total cost of the production will be cheaper than if it was a multi camera production, for example: on the site 'Hireacamera' it costs around £165 per day to rent a Sony PXW-FS7 II camera, whereas if you were on a multi camera production and needed 4 cameras for example it'd cost £660 per day to rent all 4 whereas the single camera production saves a lot more money which can be used to either invest in other aspects of production or just save money in general because some filmmakers have a limited budget (Quentin Tarantino had a small budget in Hollywood standards with Reservoir Dogs 1.2 million dollars and because of this it was filmed using a single camera) and in some cases it's cheaper to rent equipment than buy because you would only rent when you needed the equipment which gives the production crew convenience.
Another advantage to single camera production is that scenes do not have to be shot in order, which will allow the filmmaker to have 'creative control' over their script, for example they may be shooting one scene and the fact that it's a single camera production means that you can make small creative changes if they see fit and this is beneficial to the director as shooting a single shot may be time consuming but it allows the director to have the scene contain everything they would want in it. Stanley Kubrick, one of the greatest directors of all time was a known 'perfectionist' and often had his actors perform multiple takes of the same scene. For example, during the filming of Eyes Wide Shut Kubrick had Tom Cruise (who portrayed William Harford) walk through a door 97 times before he was satisfied with the shot, this shows how single camera allows freedom as if it was multiple camera then it would restrict any production as to how many takes they were allowed.
Another advantage of single camera production links in with the previous point of cost but because there's fewer cameras then it would require less crew members to operate the equipment, which in turn would allow more space (because there's less people on set) and it would lower costs, on average a camera operator costs around (these costs are from wiredvideo.net): £375 for 10 hours and a multiple camera production would run into the thousands of pounds, £1500 a day for 4 cameras to be exact, this advantage not only saves money, but also can unintentionally make a scene better. And it is helpful if you are already in 'limited' space to begin with as you'll want to save as much space as possible.
The final advantage of single-camera production is that it is a lot less time consuming than a multi-camera production, as with a multiple-camera production the time it would take to set up all the equipment and make sure the cameras are pointed in the correct position and in focus would take longer and therefore it means less time for actual shots. Whereas the stress just isn't there for a single camera production, which is beneficial to the production, as this spare time could be used for other factors of the film's production, or it could be used to perfect/make alterations to scenes.
Disadvantages of single camera
A disadvantage of the single camera is regarding shooting, said in advantages single camera allows you to take multiple takes of the same scene, however this can be seen as a disadvantage because repeating the same shot over and over again will cause repetition and the actors in said scene may get agitated as repeating the same thing over and over again is irritating and most actors would much rather get the scene done as quick as possible. And that isn't counting how you'll need the same shot from multiple angles which will add even more stress to the actors, and shoots can go on for hours.
Another disadvantage links with the previous point, multi-camera production does take more time to set up it does fix the problem a single camera production does. With single camera, you need to shoot multiple shots at different angles and that takes time, whereas in multi camera production allows you to shoot the different angles all at once, which will make it easier when you're in post-production. This shows how only shooting with a single camera can be limited as with multi camera you can edit scenes based on the camera that was used to take the shot.
Furthermore, another disadvantage of single-camera production is that if the camera is damaged/broken, then you could potentially lose all your work and may have to do an entire reshoot which will not only take more time but it could potentially delay the production and therefore the risk of falling behind on schedule is possible. And, you could lose footage of a brilliant shot, and then during the reshoot you could fail to reproduce it which will cause a big headache and could potentially lower the quality of the final product.
The need to reshoot shots can cause issues, the reason being is that because of the vast amount of reshoots then you may not get 'genuine reactions' from your actors, as they may be agitated that they have to do multiple shots as they would want to get the shots done as quick as possible so they can wrap filming up quickly and be on their way, and also the movie studio/people who fund the film will have to put up more money as reshoots will require to use the equipment, crew, actors for longer which ups the cost drastically and is a headache to any filmmaker as most directors don't want to spend more than they need too.
Finally, with single camera production you are solely relying on one camera, which is risky as if that camera breaks then you risk the entire shooting day being cancelled and then it will most likely delay production which will cause big issues to the cast and crew, not to mention stress also. However, most likely there'll always be a spare camera on set to combat this exact issue, but if not then the results could be disastrous.
The shot in Martin Scorsese's Goodfellas uses a steadicam as the camera slowly follows Henry Hill (portrayed by Ray Liotta) and Karen Friedman (Later known as Karen Hill, portrayed by Lorraine Bracco) walking through a restaurant and getting ahead of all the other patrons who have to wait to get seated and said patrons are agitated that Henry and Karen get in before them. This camera technique shows us the audience just how much influence/power Henry has as he is walking through a busy restaurant and people don't have an issue with it, even better for Henry some workers actually stop and say hello to Henry. This tracking shot is perfect because it shows the influence the mafia has without showing a cliche scene with violence, it also describes Hill perfectly as he has all the power, money, respect, women but he has to go through the back door to get it and it shows how Hill isn't your normal 9-5 working man. It's a literal and metaphorical observation of Hill. The steadicam allows for the shot to be filmed 'hand held' and the cameraman isn't restricted into where they can go, the steadicam also allows us the audience to see the worlds of all the characters, ranging from the up and coming mobster, to the worker who struggles to make ends meet, and the public who lose out because of Hill's status. Source clip: https://www.youtube.com/watch?v=3Sr-vxVaY_M
The British sitcom Peep Show, starring David Mitchell and Robert Webb as two dysfunctional friends utilizes the point-of-view shot (pov) which is achieved by having the actors stand directly behind the camera operator. The scene in question, is set in a Mexican restaurant where Mark starts his first shift, this scene uses point-of-view to make us (the audience) feel like we're Mark in this scenario, and his first shift quickly turns into a nightmare as his prospective business partner Johnson turns up for a 'meeting' at the restaurant, completely unaware that Mark is now working there, he even comments on this. One of the tropes of sitcoms is realism, that is the appeal to sitcoms, they're going to relate to the audience somehow. Regarding the scene, this scene heightens the tension that Mark will be feeling as he's trying to have this meeting while also serving a family at the same time, as this is from his point of view we too feel the same way Mark is, Mark is nervous, anxious and trying to juggle two things which of course crashes down on Mark. This scene is particularly hard to watch (as many people cringe at it) which also 'includes' another trope of sitcoms which is sets, this is set in a restaurant and many people watching Peep Show will relate to Marks experiences, (not the lying to your business partner part) as working in the food industry is quite stressful and this scene portrays this perfectly. Source clip: https://www.youtube.com/watch?v=ZZBHtCh69TY
SaveTheChildren's 'One Child' advert is an emotional plea by STC for the public to donate to the organization to save malnourished children. This advert uses single camera to create tension but it also creates empathy as the advert focuses on these clearly sick and unwell children, the tension this advert creates pulls on the audience's heartstrings, as audience members we wonder how this can happen to another human being, and this motivates the audience to want to do something about it. The camera focusing on the children is the most powerful aspect of the advert as it makes the audience wonder how they'd react if that was their child and the usage of close up shots help this also, this is used to convey emotion and to have the audience connect with the subject. A medium shot is also used in the advert with the doctor holding onto the young childs finger, this is powerful as it shows the audience what can be achieved if they help STC out and immediately following this scene there's another medium shot of a child who looks to be healthy, happy and in good condition. This furthers pushes emotion onto the audience which in turn would encourage them to donate so that every suffering child can be healthy, again. Source clip: https://www.youtube.com/watch?v=99pQ0KJfdoE
- Steadicam - 'a lightweight mounting for a film camera which keeps it steady for filming when handheld or moving.'
- Close-up shot - 'is a type of shot that tightly frames a person or object'
Advantages of single camera
More creative freedom: because a single camera production only requires one camera it allows the director to have more creative freedom in his/her production. An example of this is that tracking shots require you to follow a specific path, whereas the single camera negates that and allows the director to implement other factors into the shot, The Shining scene where Danny Torrance is riding through the hotel is a good example of this, as they could film around the corners whereas if they had done a tracking shot then it wouldn't have turned out as effective as it is because the tracking shocking wouldn't allow such freedom from the cameraman Garrett Brown (who invented the steadicam) and therefore it made the shot itself look better
Because there's only one camera in use, the total cost of the production will be cheaper than if it was a multi camera production, for example: on the site 'Hireacamera' it costs around £165 per day to rent a Sony PXW-FS7 II camera, whereas if you were on a multi camera production and needed 4 cameras for example it'd cost £660 per day to rent all 4 whereas the single camera production saves a lot more money which can be used to either invest in other aspects of production or just save money in general because some filmmakers have a limited budget (Quentin Tarantino had a small budget in Hollywood standards with Reservoir Dogs 1.2 million dollars and because of this it was filmed using a single camera) and in some cases it's cheaper to rent equipment than buy because you would only rent when you needed the equipment which gives the production crew convenience.
Another advantage to single camera production is that scenes do not have to be shot in order, which will allow the filmmaker to have 'creative control' over their script, for example they may be shooting one scene and the fact that it's a single camera production means that you can make small creative changes if they see fit and this is beneficial to the director as shooting a single shot may be time consuming but it allows the director to have the scene contain everything they would want in it. Stanley Kubrick, one of the greatest directors of all time was a known 'perfectionist' and often had his actors perform multiple takes of the same scene. For example, during the filming of Eyes Wide Shut Kubrick had Tom Cruise (who portrayed William Harford) walk through a door 97 times before he was satisfied with the shot, this shows how single camera allows freedom as if it was multiple camera then it would restrict any production as to how many takes they were allowed.
Another advantage of single camera production links in with the previous point of cost but because there's fewer cameras then it would require less crew members to operate the equipment, which in turn would allow more space (because there's less people on set) and it would lower costs, on average a camera operator costs around (these costs are from wiredvideo.net): £375 for 10 hours and a multiple camera production would run into the thousands of pounds, £1500 a day for 4 cameras to be exact, this advantage not only saves money, but also can unintentionally make a scene better. And it is helpful if you are already in 'limited' space to begin with as you'll want to save as much space as possible.
The final advantage of single-camera production is that it is a lot less time consuming than a multi-camera production, as with a multiple-camera production the time it would take to set up all the equipment and make sure the cameras are pointed in the correct position and in focus would take longer and therefore it means less time for actual shots. Whereas the stress just isn't there for a single camera production, which is beneficial to the production, as this spare time could be used for other factors of the film's production, or it could be used to perfect/make alterations to scenes.
Disadvantages of single camera
A disadvantage of the single camera is regarding shooting, said in advantages single camera allows you to take multiple takes of the same scene, however this can be seen as a disadvantage because repeating the same shot over and over again will cause repetition and the actors in said scene may get agitated as repeating the same thing over and over again is irritating and most actors would much rather get the scene done as quick as possible. And that isn't counting how you'll need the same shot from multiple angles which will add even more stress to the actors, and shoots can go on for hours.
Another disadvantage links with the previous point, multi-camera production does take more time to set up it does fix the problem a single camera production does. With single camera, you need to shoot multiple shots at different angles and that takes time, whereas in multi camera production allows you to shoot the different angles all at once, which will make it easier when you're in post-production. This shows how only shooting with a single camera can be limited as with multi camera you can edit scenes based on the camera that was used to take the shot.
Furthermore, another disadvantage of single-camera production is that if the camera is damaged/broken, then you could potentially lose all your work and may have to do an entire reshoot which will not only take more time but it could potentially delay the production and therefore the risk of falling behind on schedule is possible. And, you could lose footage of a brilliant shot, and then during the reshoot you could fail to reproduce it which will cause a big headache and could potentially lower the quality of the final product.
The need to reshoot shots can cause issues, the reason being is that because of the vast amount of reshoots then you may not get 'genuine reactions' from your actors, as they may be agitated that they have to do multiple shots as they would want to get the shots done as quick as possible so they can wrap filming up quickly and be on their way, and also the movie studio/people who fund the film will have to put up more money as reshoots will require to use the equipment, crew, actors for longer which ups the cost drastically and is a headache to any filmmaker as most directors don't want to spend more than they need too.
Finally, with single camera production you are solely relying on one camera, which is risky as if that camera breaks then you risk the entire shooting day being cancelled and then it will most likely delay production which will cause big issues to the cast and crew, not to mention stress also. However, most likely there'll always be a spare camera on set to combat this exact issue, but if not then the results could be disastrous.
The shot in Martin Scorsese's Goodfellas uses a steadicam as the camera slowly follows Henry Hill (portrayed by Ray Liotta) and Karen Friedman (Later known as Karen Hill, portrayed by Lorraine Bracco) walking through a restaurant and getting ahead of all the other patrons who have to wait to get seated and said patrons are agitated that Henry and Karen get in before them. This camera technique shows us the audience just how much influence/power Henry has as he is walking through a busy restaurant and people don't have an issue with it, even better for Henry some workers actually stop and say hello to Henry. This tracking shot is perfect because it shows the influence the mafia has without showing a cliche scene with violence, it also describes Hill perfectly as he has all the power, money, respect, women but he has to go through the back door to get it and it shows how Hill isn't your normal 9-5 working man. It's a literal and metaphorical observation of Hill. The steadicam allows for the shot to be filmed 'hand held' and the cameraman isn't restricted into where they can go, the steadicam also allows us the audience to see the worlds of all the characters, ranging from the up and coming mobster, to the worker who struggles to make ends meet, and the public who lose out because of Hill's status. Source clip: https://www.youtube.com/watch?v=3Sr-vxVaY_M
The British sitcom Peep Show, starring David Mitchell and Robert Webb as two dysfunctional friends utilizes the point-of-view shot (pov) which is achieved by having the actors stand directly behind the camera operator. The scene in question, is set in a Mexican restaurant where Mark starts his first shift, this scene uses point-of-view to make us (the audience) feel like we're Mark in this scenario, and his first shift quickly turns into a nightmare as his prospective business partner Johnson turns up for a 'meeting' at the restaurant, completely unaware that Mark is now working there, he even comments on this. One of the tropes of sitcoms is realism, that is the appeal to sitcoms, they're going to relate to the audience somehow. Regarding the scene, this scene heightens the tension that Mark will be feeling as he's trying to have this meeting while also serving a family at the same time, as this is from his point of view we too feel the same way Mark is, Mark is nervous, anxious and trying to juggle two things which of course crashes down on Mark. This scene is particularly hard to watch (as many people cringe at it) which also 'includes' another trope of sitcoms which is sets, this is set in a restaurant and many people watching Peep Show will relate to Marks experiences, (not the lying to your business partner part) as working in the food industry is quite stressful and this scene portrays this perfectly. Source clip: https://www.youtube.com/watch?v=ZZBHtCh69TY
SaveTheChildren's 'One Child' advert is an emotional plea by STC for the public to donate to the organization to save malnourished children. This advert uses single camera to create tension but it also creates empathy as the advert focuses on these clearly sick and unwell children, the tension this advert creates pulls on the audience's heartstrings, as audience members we wonder how this can happen to another human being, and this motivates the audience to want to do something about it. The camera focusing on the children is the most powerful aspect of the advert as it makes the audience wonder how they'd react if that was their child and the usage of close up shots help this also, this is used to convey emotion and to have the audience connect with the subject. A medium shot is also used in the advert with the doctor holding onto the young childs finger, this is powerful as it shows the audience what can be achieved if they help STC out and immediately following this scene there's another medium shot of a child who looks to be healthy, happy and in good condition. This furthers pushes emotion onto the audience which in turn would encourage them to donate so that every suffering child can be healthy, again. Source clip: https://www.youtube.com/watch?v=99pQ0KJfdoE
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