'Reflecting Abesence' Official Trailer

Evaluation

Ancillary Text

For my ancillary texts I have created a poster for my trailer and the front cover of a film magazine. It took me a long time to come to a final decision about my film poster, originally I wanted the World Trade Centre at the foreground of the poster with the couple in the middle of the towers, but I felt that this obscured the image and despite informing audiences that the film was regarding 9/11, but I felt that the image of the twin towers took away the real message of the film; which is a couple torn apart by an event that shocked the world and how two people come to terms with their new lives. 


With my magazine cover I looked at a series of different 'EMPIRE' magazine covers and took sections of them and incorporated it into my own magazine cover, I noticed that use one bright colour and the rest of the colour is muted therefore I decided to use blue as it stood out. A lot of the information is in capitals this is used to attract audiences which is aided through the use of a bright colour which I have used in my magazine cover. 

Library Footage

Majoirty of my library footage is news reports and footage from the day of September 11th. The reason why I decided to use these clips is because I felt that they would not only remind people of what they were witnessing live on TV on tuesday September 11th 2001 but for them to remember what they were feeling when they saw the planes crash into the twin towers the feeling of "this can't be happening" and then that feeling of disbelief when they realised how many people had lost their lives, that whilst they were going about their normal days four planes were being hijacked.

The audience first hear an audio clip from Fox News which reported that "A plane has crashed into the World Trade Center". I used live footage because it captures the news reporters reactions to seeing the towers on fire and witnessing the second plane hit the south tower, again this highlights peoples disbelief that this happening especially as the audience see that initially news reporters believed it was a small commuter plane and that it was a freak accident. 

'Reflecting Absence' Rating

I have decided to classify 'Reflecting Absence' as a PG13 rating film. I feel that some audiences below the age of 13 may find the events of 9/11 disturbing as there are scenes of the planes colliding into the World Trade Centre and the towers collapsing. There is moderate language used in the film for example 'Pissed' and 'Shit' but these words and similar words are used infrequently and are used to express emotion rather than directed towards a person.
Bellow are the following reasons for chosing this classification:

• There is parcial nudity but this is for a few minutes of the film and is then not seen again. Any sexual references or contexts are brief and discreet.

• There are no crude references in the film, and there one scene in which the two protagonists engage in sexual activity but this is brief and discreet, it is used to portray their love and connection for one another rather than glamourising it. There is no sexual references in the film.

• The theme of the film is mature but as it is not the main focus, the film does not go heavily into the details of 9/11 or show anybody physically dying, this is only presumed by watching the planes crash into the World Trade Centre and the towers collapsing, the audience do not witness anybody trapped or in physical pain.

• Once again the violence of the attacks on the World Trade Centre are used to set the plot of the film rather than being constant theme of the film. The film does not dwell on heavy detail of 9/11, the audience will see a man with a bomb attached to him this is to set the scene leading up to the plane crashing into the World Trade Centre. There is no emphasis on injuries or blood but there are scenes which imply this (i.e. news reports). There is no sexual violence in the film.

Legal Constraints when making a film.

Among the rights established under the Human rights act there are the right of respect for private and family life, and the right to freedom of expression. When classifying works, the BBFC will have regard to the impact of any decision on the rights of any relevant person. The Act permits such restrictions on freedom of expression as are prescribed by law and are necessary in a democratic society,in the interests of national security, territorial integrity or public safety, for the prevention of disorder or crime, for the protection of health or morals, for the protection of the reputation or rights of others, for preventing the disclosure of information received in confidence, or for maintaining the authority and impartiality of the judiciary.

Cinemas require a licence from the local authority in which they operate. The licence must include a condition requiring the admission of children (under 18) to any film to be restricted in accordance with the recommendations of the BBFC or the licensing authority.

The objectives of the Licensing Act are:

• the prevention of crime and disorder
• public safety
• the prevention of public nuisance
• the protection of children from harm.

Video works (including films, TV programmes and video games) which are supplied on a disc, tape or any other device capable of storing data electronically must be classified by the BBFC unless they fall within the definition of an exempted work.

When considering whether to award a classification certificate to a work, or whether to classify a work at a particular category, the BBFC is required by the Act to have special regard (among the other relevant factors) to the likelihood of works being viewed in the home, and to any harm that may be caused to potential viewers or, through their behaviour, to society by the manner in which the work deals with:

• criminal behaviour
• illegal drugs
• violent behaviour or incidents
• horrific behaviour or incidents
• human sexual activity.

In considering these issues the BBFC has in mind the possible effect not only on children but also on other vulnerable people.

It is illegal to publish a work which is obscene. A work is obscene if, taken as a whole, it has a tendency to deprave and corrupt (ie, make morally bad) a significant proportion of those likely to see it. However, no offence is committed if publication is justified as being for the public good on the grounds that it is in the interests of science, art, literature or learning or other objects of general concern.

• It is illegal to be in possession of an extreme pornographic image. An extreme pornographic image is one which is pornographic and grossly offensive, disgusting or otherwise of an obscene character, which features an apparently real person, and which portrays, in an explicit and realistic way, an act which: threatens a person’s life; results, or is likely to result, in serious injury to a person’s anus, breasts or genitals; involves sexual interference with a human corpse; or involves bestiality. Works classified by the BBFC under the Video Recordings Act are excluded from the scope of the offence.
• It is illegal to make, distribute, show or possess indecent photographs or pseudo-photographs of a child. It is also illegal to make, distribute, show or possess indecent images of children which have been derived from a photograph or pseudo- photograph (for example, by tracing). A child is defined as a person under the age of 18.
• It is illegal to expose oneself with intent to cause alarm or distress – this offence augments the common law misdemeanour of indecent exposure. The Act also prohibits a person recording the private act of another, where the intention of the recording is for the sexual gratification of himself or a third party and where the recorded party has not consented to so being filmed.
• It is illegal to distribute, show or play to the public a recording of visual images or sounds which are threatening, abusive or insulting if the intention is to stir up racial hatred or hatred on the grounds of sexual orientation, or if racial hatred or hatred on the grounds of sexual orientation is likely to be stirred up. It is also illegal to distribute, show or play to the public a recording of visual images or sounds which are threatening if the intention is to stir up religious hatred.
• It is illegal to show any scene ‘organised or directed’ for the purposes of the film that involves actual cruelty to animals. This Act applies to the exhibition of films in public cinemas but the BBFC also applies the same test to video works. For the purposes of this legislation and
• The Animal Welfare Act 2006, only vertebrates which are domesticated or otherwise under the control of man are defined as ‘animals’.
• It is illegal to supply, publish or show or possess with intent to supply a video recording of an ‘animal fight’ that has taken place within Great Britain since 6 April 2007.
• It is illegal, in the course of a business, to publish a tobacco advertisement.
• In carrying out its responsibilities, the BBFC will have regard to whether the material itself appears to be unlawful in the United Kingdom, or has arisen from the commission of an unlawful act.

BBFC - R18 Rating

To be shown only in specially licensed cinemas, or supplied only in licensed sex shops, and to adults of not less than 18 years

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ video works may not be supplied by mail order. The following content is not acceptable:

 For a film to be rated R18 it must comply with the following guidelines:

• any material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959
• material (including dialogue) likely to encourage an interest in sexually abusive activity (for example, paedophilia, incest or rape) which may include adults role-playing as non-adults
• the portrayal of any sexual activity which involves lack of consent (whether real or simulated). Any form of physical restraint which prevents participants from indicating a withdrawal of consent
• the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity
• penetration by any object associated with violence or likely to cause physical harm
• any sexual threats, humiliation or abuse which does not form part of a clearly consenting role-playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable.

BBFC - 18 Rating

Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.

In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:

For a film to be classified as 18 Rating it must comply with the following guidelines:

• where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
• where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
• where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.
• In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
• Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.
• Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.

BBFC - 15 Rating

Suitable only for 15 years and over

No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.

For a film to be classified as 15 rating it must comply with the following guidelines:

• The work as a whole must not endorse discriminatory language or behaviour.
• Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.
• Strong threat and menace are permitted unless sadistic or sexualised.
• Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.
• There may be frequent use of strong language (for example, ‘fuck’). The strongest  terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.
• Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
• Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
• No theme is prohibited, provided the treatment is appropriate for 15 year olds.
• Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.

BBFC - 12/12A/PG13 Rating

Suitable for 12 years and over

Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.

The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.

For a film to be certified a 12/12A/PG13 it must comply with the following guidelines:

• Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
• Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.
• Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.
• Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamorised.
• Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.
• Nudity is allowed, but in a sexual context must be brief and discreet.
• Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.
• Mature themes are acceptable, but their treatment must be suitable for young teenagers.
• Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

BBFC - PG Rating

Parental Guidance

General viewing, but some scenes may be unsuitable for young children

Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.

A PG rating film must comply with the following:

• Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context.  Discrimination by a character with which children can readily identify is unlikely to be acceptable.
• References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.
• Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.
• No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.
• Mild bad language only.
• Natural nudity, with no sexual context.
• Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.
• Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.
• Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).

BBFC - U Rating

Universal – Suitable for all

It is impossible to predict what might upset any particular child. But a ‘U’ film should be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.

If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.

For a film to be classfied U rating it has to comply with these guidelines: 

• No discriminatory language or behaviour unless clearly disapproved of.
• No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.
• Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
• No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.
• Infrequent use only of very mild bad language.
• Occasional natural nudity, with no sexual context.
• Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’).
• While problematic themes may be present, their treatment must be sensitive and appropriate for young children.
• Mild violence only. Occasional mild threat or menace only.

Final Filming Schedule

March 1st - Film 9/11 news clips. For this scene I will be filming news footage which was actually shown on the day of 9/11. Rather than trying to recreate the footage and the audio I have decided to use real life footage as I want to keep the film as authentic as possible as well as quite literally taking the audience back to September 11th 2001 when they were witnessing the World Trade Center on fire and eventually collapsing.

March 7th - Film establishing shots and location shots. I will be going to London to film establishing shots as in the beginning of the film and the trailer the audience see Jack and Kate meeting one another, telling each other their names (the audience know who they are by doing this) and subsequently getting engaged. Before the audience these clips the audience will see a shot of London with 'London, 1995' on top of the clip to show the audience that this where and when Jack and Kate met.









March 11th - Film Jack and Kate meeting one another, spending time with each other (portraying a loving couple) and then getting engaged. This will be filmed locally at Blenheim Palace grounds next to the lake and using the bridge which I feel will add to the romance of the scenes that are being shot, but will also show the audience that whilst being in this vast open space all they want to do is be with one another and not leave each other which is another reason why I have chosen Blenheim Palace.

March 12th - Film Jack on the phone to Kate whilst he is at the airport waiting for his plane. This scene will be shot at Water Eaton Park and Ride due to the seating arrangement as it looks similar to an airport departure lounge with its rows of seats, the shot will be solely focused on Jack so everything around him will be blurred which will also allow the fact that it is actually a bus station to be disguised.

Once I have filmed all of these remaining scenes I will then start to focus on editing my trailer and creating the promotional poster to go with the film.

Music for 'Reflecting Absence'

After spending a long time on YouTube researching various tracks for my trailer I have come to a conclusion. I felt that rather than having a sombre song through out the trailer I would have two songs; one being a sombre reflective song which is used to reflect the emotions of the character and the intensity of the plot. The second song will be a positive song this is to reflect Amelia moving on with her life and then realising that Jack has come back to say goodbye.


I feel that by using two songs it will give the trailer a balance between sadness and happy which is what the film is about; a person dealing with their grief and the saddness of losing somebody they love and then what they do with that grief and the positive outcomes of what happened.

The first song; 'Delicate' by Damien Rice.

For me it was the beat of the song that attracted me and the repetiveness of the lyrics which conotates Amelia constantly replaying the moment Jack died in her head and that feeling of constantly reliving what happened on 9/11. To complement this sombre track I have selected a song that has repetitive lyrics but with a happy beat that conotates to looking forward to the future and what is going to come next, which is what is happening in Amelia's life.

The second song; 'Good Life' by OneRepublic

Use of a plane simulator

In my trailer I want to have a shot from inside a plane cockpit so the audience can get the feeling of being in the plane as it is about to take off. By doing this I feel that the audience will be able to have an understanding of what it would have been like to be on the plane amongst all the passengers unaware of what is about to happen.

I feel that a shot similar to the picture on the left will allow the audience to realise that September 11th started off like any other day with people going to work, planes taking off and childrening going to school and yet amongst all of this normality a group of terrorist had planned to change the world for ever with their actions that would later occur.

I got the idea of using a cockpit scene in my trailer from watching the trailer for 'United 93' which shows the pilots talking about it being a clear day and what they were going to do at the end of the day.

In order to achieve this shot I have got in contact with Oxford City Airport and Oxford Aviation Academy http://www.oaa.com/pages/about_us/fleet/simulators/B737CL who have put me in touch with an employee who I am currently in contact with about using one of their simulators and film a training session in order for the shot to be as authentic as possible.

Scene 1

The first scene in my trailer shows the audience pictures of the family. The reason for this is so the audience can gain an understanding of the family unit and the closeness between them which I feel will allow the audience to emphasise with the female character when they see her unable to cope with the loss of her husband.

This is a picture of the scene set up, the audience can see various pictures of the family together, the each individual picture emulates 'fun times' and a bond that all families have.

For this scene i used a variety of panning shots going across the pictures so the audience can see each individual picture clearly which I feel allows the audience to understand and 'get to know' the family.

I also used close up shots, tracking in and out whilst panning across the pictures. When editing this scene I decided to split the scene into five individual scenes and fade between each one, as I felt it will still keep the flow and momentum of the scene but by cross fading the individual scenes it allowed the whole scene to merge together over lapping one another.


#Add scene 1 to post. 

Music

The music that I decide to use for my trailer needs to reflect the mood of the trailer and represent the feeling of losing someone close to you, and the pain that people go through when they lose somebody close to them (i.e. a parent, husband/wife) so the music that i choose must emulate the feelings of Amelia since Jack's death.

Below is a list of the potential music that I will be using in my trailer:

                                                                                                                                                                                                                                                                                                                                                                   
'Wherever You Will Go' by Boyce Avenue. The opening lyrics "So lately, been wondering. Who will be there to take my place. When I'm gone you'll need love. To light the shadows on your face" these lyrics represent Jon's hopes for Karen that she will find happiness and love in somebody else to ensure that she is not alone. "And maybe, I'll find out. A way to make it back someday. To watch you, to guide you. Through the darkest of your days" these lyrics represent how Jon will always be there for Karen despite the fact that he is no longer alive. 

'Here Without You' by Boyce Avenue. This song represents the emotions of both Jon and Karen describing the feelings that they have for one another and being apart from one another. "I'm here without you baby. But you're still on my lonely mind. I think about you baby. And I dream about you all the time" These lyrics represent the feelings that Jon and Karen have one another, showing that Karen's love is still strong for Jon despite it being 10 years since his death. 

'Iris' by Boyce Avenue. This song was the first song that I thought of when trying to find a song for my trailer, the lyrics resinate the feelings that people have when someone close to them dies "And I'd give up forever to touch you. 'Cause I know that you feel me somehow. You're the closest to heaven that I'll ever be. And I don't want to go home right now" These lyrics represent the loss that a person feels when they lose somebody close to them. So it would work well with my trailer.