THE HATE U GIVE year 9 recap

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Script for Edgar Wright Mise En Scene Analysis Video

Script for video 

SHAUN OF THE DEAD 

HOT FUZZ  

THE WORLDS END 

BABYDRIVER 

These are just some of the amazing films that Edgar Wright directed and wrote that could arguably have changed film as we know it forever.  

Edgar was born April 1974. He has evolved from a young film geek wanting to prove himself to one of the most sought-after geeks working in film today. Raised in Somerset, England, as a young teenager he embarked on making short films with a Super 8 camera. He continued to make many more shorts after he won a Video 8 camera in a Comic Relief contest, awarded to him for his film ‘I Want to Get into the Movies’, which an animated film about wheelchair access. At age 20, he directed A Fistful of Fingers, a no-budget feature film starring local teen actors. The unlikely British Western was put into limited theatrical release and paved his way into television with the Paramount Comedy Channel. While there, Mr. Wright directed the sketch show Mash and Peas, with future Little Britain stars Matt Lucas and David Walliams; and the sitcom Asylum, for which he joined forces with future collaborators Simon Pegg and Jessica Hynes. 

While still in his early 20s, he directed several comedies for the BBC including Merry-Go-Round, Is It Bill Bailey? Murder Most Horrid, Sir Bernard’s Stately Homes, and French and Saunders. Wright gained notice in the U.K. when he directed the two seasons of Spaced for Channel 4. He then went on to direct and write many more movies and tv shows. He also skillfully uses the micro elements of film form... 

MISE EN SCENE 

In this scene in Shaun Of the Dead, Mise En Scene is used to add effect to the story line. 

Shaun is wearing red which represents blood and danger. This is very appropriate considering it is a zombie film. However, his name tag, which is above his heart, is red also which could represent love. Perhaps it shows he has little love left? Or, maybe he is lacking love? His shirt is very white, which greatly contrasts the red. The white gives off a clinical, fake atmosphere suggesting that Shaun's life is possibly fake (I.e. he seems like he is more sorted out than is)? Also, there is a bit of red ink which could be mistaken for blood, adding a comical effect. The zombies are all in dirty clothes which means it is explicit that they have clearly been eating humans and doing zombie activities.  

To help create the scene, there are many mundane props such as traffic (cone), cars and street poles and lights. However, they are clearly 'not right' I.e. they are knocked over and broken etc. However, Shaun doesn’t notice due to tiredness which again adds a comical effect. Perhaps it could help show how we don’t notice and appreciate our surroundings in this humane world. Also, there is the iconic blood hand print on the door of the fridge in the shop. Again, he doesn’t notice which is comical and almost makes the audience want to talk/shout to the character! 

Again, the setting is very mundane and everyday which makes it relatable for the audience which can really help us (audience) feel as if we are part of the film. Relating back to the props, it gradually becomes obvious how the zombies have inhabited the earth 

Shaun is clearly very tired which we already know. He is often looking down which could suggest he has low self-esteem. As well as that, he gets a diet coke- again suggesting he feels he is possibly overweight? He is acting almost zombie like himself which makes the audience think how maybe the zombies are just a metaphor for how humans live their everyday lives? Of course, this also adds a comical effect again.  

The lighting is very mundane and almost boring. When Shaun is in the house, especially in the lounge scenes then the lighting, again, is boring and has a grey- blue tint to it. Grey and blue are generally colors that represent sadness, boredom etc. When in the shop, the lighting is very typical and artificial. However, this could link back to the idea of Shaun's life being slightly fake- also the idea that he has low self-esteem and is hiding it.  

Shaun almost looks slightly zombie like (comical effect)- he is pale and clearly tired. His skin looks almost pasty. We (the audience) almost feels slightly revolted as it is obvious Shaun is dirty. This suggests he doesn’t look after himself very well- again, linking back to low self-esteem. 

Let's see the difference between the first and last scene of this film: 

The costume of Ed is that of a typical zombie-brown and dirty, covered in blood. Obviously, this is very different than how he was originally presented. Shaun's clothing is a lot more chilled and mundane. He isn't in dirty work clothes, but in a top he likes. Videogame controllers are used as props, to show they are playing videogames, back to their old ways. The setting is a shed, used to show how Shaun is hiding Ed and also for comical effect, unlike the mundane boring shop. Shaun is clearly much happier as he is smiling and looking up- this could suggest he is hopeful for the future as opposed to low self-esteem. Ed is well... being a zombie.The lighting is dark- but light in background. Its dark wherever the zombie is but Shaun can go back to the happy world. Shaun looks clean and happy. He has a slight glow to him. Ed is disgusting, covered in blood and very dirty. What you would expect from a zombie? 

In this scene, Shaun is clearly very happy due to his smile and how he is sitting in a 'chilled' and comfortable position. He seems to have no worries. Obviously, Ed is being a zombie. Nothing more to say.  

Let's look at how Hot Fuzz is different to SOTD 

Costume-Dark, strict. Police uniform 

Props-Trophies, Certificates are used to show how successful he is. Usual police equipment I.e. handcuffs, guns hats etc. 

Setting-Police Station. Mundane and clearly highly organised. 

Character Expression and Movement- Very stern. Obviously meant to be comical in the moments when the character turns and sneers at the camera. However, after he's shot somebody there is a split second of empathy and sadness on the characters face. He also struts to show he has authority. Nicolas looks straight ahead and never looks back suggesting that the character focuses on the future. 

Lighting-The light is very blue and dull, this suggests his life is boring and sad. The lighting also gives off a clinical effect implying that much like SOTD, his life is fake and has no meaning. 

Hair and makeup, Mundane. Pale. Looks almost tired and ageing. 

CINEMATOGRAPHY 

The car chase scene in baby driver is skilfully filmed and directed. 

Before we even see anything in baby driver, we hear a high-pitched tone that fades into a musical note that we later discover is baby's tinnitus. The viewer won't find out that baby uses music to block out this. However, this seed has been planted at the very beginning of the film. In baby driver, images are often subordinate to sound- unlike other films. This establishes the importance of music at the beginning of the movie.  At the very beginning of the scene, the opening shot establishes many things: there are cars, a bank reading Atlanta, and then baby's red (suggesting danger) Subaru dominates the scene, making the viewer aware it is important. The next thing we see is baby's iPod- we hear what baby is hearing. Finally, we see baby in a close up- our main character. Next everything happens on the beat of the music. At the beginning of the bank robbery, Wright uses a wide shot and perspective to separate baby from the crew and we the audience stay in the car with the baby, this helps us separate him from the criminal world. We then see Baby jamming to the music to pass the time, like a bored intern. We fully recognise baby's separation from the criminal world. But then we are reminded that this is just an illusion when the coincidence of a passing police car awakens baby. Baby's view of the robbery reminds us of the harsh world is in involved with. The audience doesn’t know it yet, but this is the central conflict of baby's character- his concern with his relationship with the world of crime. This shot is the closest on baby’s face that it has been so far. This close-up emphasises the importance of this moment for baby.  The next part of the scene is the car chase. There are 164 shots over 3 minutes and 5 seconds. This gives us an average shot length of 1.19 seconds, other than the final 23 second final tracking shot. The longest shot in the chase is 6 seconds. The shortest is 4 frames long. (1/6 of a second). This scene works as it functions as a musical montage as opposed to a real time car chase. There are many jumps in time, but this seems to work because of the dominant music throughout, the chase almost operates as a dance at first. The scene is very clearly filmed in conjunction with the music. It doesn’t just compliment the scene; it drives it forward. But the scene doesn’t lose a sense of direction either. There are many queues that allow the audience to follow its action. Edgar wright priorities the feeling of the scene rather than the clarity of the physical movement. It is striking, just how much time the camera spends in the car. 59 shots are of baby or the passengers. Whilst 78 shots are of the actual cars. These 60 40 splits still play the emphasis of how much is going on inside the vehicle. This makes us feel as if we are actually in the car chase.  The police, the conflict in this scene, only get about 25 shots. Most of the interior shots that we see of baby are of him making decisions whilst driving. We constantly see him assessing the situation. There are shots of the other passengers looking sceptical or frightened contrasting baby's focus. Early on, we recognise that it is baby and his car: Baby and his driving.  Wrights directing is showcased in this scene: It's not just a big flashy car chase to get the audience hooked. It does all of that, but it also subtly feeds the audience information to help them navigate the story ahead.     

EDITING 

Edgar Wright has a very specific well known type of editing that consists of very quick shots with interesting angles of very mundane things such as travelling, getting changed or pouring beers. This makes parts of films that are usually very boring for the audience more appealing, fun or comical. This makes his films more interesting and appealing.  

SOUND 

Edgar uses both diegetic and non-diegetic music in his films. He often uses modern and up to date music in his films. He also uses action music in films such as Shaun of the dead, hot fuzz and the worlds end- otherwise known as the Cornetto trilogy which are some of Edgar Wright’s most popular movies. Films such as baby driver use many diegetic tracks as the main character is constantly listening it music. However, in Shaun of the dead, a lot of non-diegetic music is used for the action scenes. Music adds a lot to Edgar Wright’s films and add to them. 

Edgar Wright skilfully uses the macro elements of film form. Thank you for watching. 

THIS DOODLE CAN'T BE UN-DID

THIS DOODLE CAN’T BE UN-DID 

In Juno, when the main character first appears, we see her walk quickly across the room from behind some of the shelves in the shop. This could make us (the audience) feel as if we are a young person in this shop alongside Juno, giving us a sense of nostalgia if we are older watchers or make it more relatable for the younger watchers. The main character is wearing red which represents danger which is correlated with how many teenagers today are represented: reckless and does things such as have teen pregnancies. We also see another teen in the corner near the cosmetics section, stealing. So far, teenagers have been represented as immature, dangerous and reckless.  The shop owner is very much in control as whenever he is shot, the camera shoots from under, giving him status and authority. This suggests that adults have higher statuses than teenagers today. He talks strangely as if he is attempting to be ’down with the kids’ yet keeps his authority. The shop owner is often quite patronising. Juno then refers to him as ‘old man’ although he is possibly only middle-aged suggesting that teens today see all adults as old and not relatable/useless. She is witty and smart, implying teenagers are more intelligent than adults think. Juno then talks about drinking sunny d- typically a childish drink in America. She is also surrounded by things related it children in her camera shot (i.e sweet machines). When in the toilet, Juno’s facial expression is much softer and more innocent. Suggesting that when away from patronising adults, she is her true innocent self. Furthermore, thus could imply that teens today are constantly trying to be adult like. Juno then walks back into the shop and even then, she is surrounded by childish things to add to her image such as sweets and games again re-instating the idea of her being immature and child-like. When she finally finds out she is pregnant, Juno then buys some strawberry laces. Of course, this makes the audience laugh in disbelief as she has just found out her life will change forever.  

Overall, teenagers are presented almost negatively in this part of Juno due to the childish tenancies and stealing. However, they are also presented positively as more intelligent than society claims teenagers are.