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Wiseguy

The moment they met, she cried wolf.


I envision my film to openly draw aspects of film noir and play with
the stylistic features to effectively build an atmosphere befitting of
the investigative and psychological thriller plot. With Wiseguy, I wish
to explore the motif of flawed vision that is filtered or sometimes
blocked by a window, glasses and binoculars. This incomplete
perspective of such dire situations blinds the private detective
Private Jack Mulvihill - featured in my story. Thus Jacks fazed grasp
on his investigation lures him into the life of crime and mafia, as he
is victim of circumstance and seduction from femme fatale Vivian
Faye.
Wiseguy came to me from inspirations as such films like Francis Ford
Copollas Godfather, Roman Polanskis Chinatown and Martin
Scorceses The Departed. The overall ambivalent and realistic yet
brutal portrayals of crime in these films have always left an
endearing and strong impression with me. The overall mood and
visual stimulation of these films bring a shadowed lighting style and
visual composition reflecting the psychological expressions from the
protagonists state of minds. I hope to capture the same atmosphere
and to impact my audience in a way, which they are completely
ravished and attentive to details as the story unfolds revealing
more surprises and unexpected outcomes.
I imagined Wiseguy to be filmed in the sleepy city of L.A set in 1940
thus being a period piece. The overall tone and milieu of the film will
exhibit stark light and dark contrasts with the dramatic shadowing
of chiaroscuro. I will utilise shades of red and brown such as blood
among the shadows to anticipate impending danger as a subtle
overlying refrain. Playing with lighting, the film will place emphasis
on dialogue therefore characters will be
bathed in
lighting with close up shots that parade
their faces in partial or whole obscured
darkness. This same effective lighting
was demonstrated in the Godfather
series where Copollas treatment of
Michael in Godfather
light and shadow portrayed the
illuminated by partial a
transformation of the protagonist from
lighting
respectable war hero to cold-blooded
killer Mafioso. This inspired me to
similarly handle lighting to mirror my protagonist Jacks
metamorphosis from a private detective cajoled into the life of
gangster and crime.

My film will also feature classic film


noir elements of venetian blind
shadows cast upon faces and
Venetian blinds
silhouettes hazed by smoke for my
shadowing
protagonist will constantly be
smoking cigarettes or cigars. Jack
will be looking out peering into the
lives of
criminals and investigating their
corruptions through the shadows of
venetian blinds but his perception is
incomplete by the blinds, which plays
on filtered vision I discussed earlier. To
Jake and Mrs.
really capture the high and low key
Mulwray in the car
lightings I will be using 500-watt lights
with lights reflecting
to achieve crisp blacks and stark
the glass
whites. Complimenting the visual feast
I aim to scrutinize is the slow paced cinematography with ethereal
frames of close ups and slow pans. There will also be a combination
of low angle, wide angle and skewed Dutch angle shots to
disorientate the audience in times of distress, anxiety and
hopelessness. I will likewise create a sense of perplexity through
shots of people reflected in mirrors or curved glass from a car with
lights from L.As ominous nightlife.
Helping me in mastering the cinematography I will employ Roger
Deakins (Skyfall, Shawshank Redemption, No Country for Old Men,
Prisoners) whose work speaks for himself. Deakins effectively brings
characteristic earthen hues and his visionary concept would
indefinitely assist in the creation of Wiseguy. When my film calls for
action scenes I anticipate in not employing shaky camera
techniques as I feel the action speaks for itself. Therefore the
camera moves with it thus allowing a smoother experience without
the possible epileptic episodes sometimes produced from action
scenes. The film will also ultimately be filmed in a screen ratio of
16:9 on 35mm colour film.
To support the visual stimulation I envisage, the soundtrack behind
the scenes amplifies them and brings them to the next level. The
score in Wiseguy will feature unorthodox instruments including
trumpets, saxophone, harps, percussion, pianos and strings. Inspired
by Polanskis Chinatown, the score will sound startlingly avant-garde
but reflects the moody underlying theme in the film. The femme
fatale Vivian and Jacks love theme will embrace a sensual trumpet
and saxophone duet on top of elegiac harp runs and brooding
strings. Scenes with tensions will include the juxtaposition of the
romanticism behind strings vibrato and the low robust chords from
the piano and short accents on percussion with a faster tempo

driving the action adding upon the excitement. I will also save the
fire of the score and only employ the soundtrack in the films key
moments. Playing upon the natural ambient sounds of traffic, rain
etc. instead, allows most of the dialogue to be heard crystal clear.
This results in the creation of tension and intensity concentrated in
scenes rather than revealing everything in plain sight.
For the cast, I intend to sign on Josh Hartnett as the lead protagonist
Jack, for Hartnetts monotonous yet smooth voice as the salesman
in Sin City fits perfectly for the character and voiceovers in the
narrative. Jacks suave and genteel character will analogize against
his insecure moments of sheer ambition, fear and anger. I feel
Hartnett has demonstrated this characterization with his undeniable
portrayals of sensitivity, rawness and craze in such films as Sin City,
Black Dahlia and TV series Penny
Eva Green
Dreadful.
Josh Hartnett
Opposite
Hartnetts role
would
be the femme
fatale
Vivian Faye
whom
will be played by Eva Green. Not only
has
Green displayed her sensual,
evocative and manipulative
display in films but she has an
irrefutable presence behind her.
Vivians role as a vixen seducing
Jack into crime would be the
perfect role for Green for shes demonstrated an array of alluring
portrayals in Casino Royale, Cracks and Sin City: A Dame to Kill For,
which all expose her acting talents. As well as both Hartnett and
Greens acting abilities, their appearances fit the characters
perfectly with Hartnetts boyish handsome scruffiness and Greens
tempting charismatic eyes.

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