Film IB 12 – Expository Documentary Criteria: SL: 10-12 pages (2 film sources) HL: 12-15 pages (4 film sources) As far as my film classes go, this will be the first time I ask you to write a script, but that’s not to say you’re going in unequipped as I believe the constant discourse involving the general film homework should help you immensely provided you participate. You will be expected to produce two scripts in expository documentary format. The first practice one, I will assess, but the second must be sent to the IB board to be assessed for your mark. An expository documentary script has a very distinctive setup. Every page equals one minute of film time and is split down the middle with the Audio on the left side and the Video on the right. Think of it as a vertical timeline that allows you to synch up how your audio and video will be interacting. Every section of the script is essentially an audio/video section of your film that you have cut out and added certain affects to. Please understand that you are NOT making this film, but instead are showing what you would do if you could and HOW you would argue your point using AUDIO and VIDEO. An example of a script has been included in this document. Definition: A nonfiction film that emphasizes verbal commentary and argumentative logic. Examples: An Inconvenient Truth is an example of an expository documentary because it relies on verbal commentary and argumentative logic to make its strong case for prevention of global warming. (Via about.com) 1st IB Expository Documentary Script: This will be a very short script, (two to three pages), based on a comparison of two films of your choice. Please document the audio/video choices that will support your argumentative thesis displayed by this film. Thesis is required for approval beforehand. 2nd and Final IB Expository Documentary Script: This will be your final script, (ten to fifteen pages depending on your IB level), based on a comparison of two or four films of your choice. Please document the audio/video choices that will support your argumentative thesis displayed by this film. Thesis is required for approval beforehand. Level 1

Level 2

Level 3

Level 4

Level 5

Little or no attention to work

Some attention to work and care in presentation

Satisfactory level of work and attention to detail

High quality and thoroughness of work exhibited

Advanced level of understanding, quality and originality

Final Mark

/25%

Rationale The documentary script for Score! The Marriage of Music and Film explores the reasons for using non-diagetic music within films that deal predominantly with studies of character. It focuses upon the analysis of the use of music within the films Volver (Spain), Happy-Go-Lucky (England), Somewhere (USA), and Le Fableux Destin d’Amelie Poulan (France) but also provides information on the evolution of music in film history.

Film Screenplay Audio Music Fades in: Phoenix- Love like a Sunset Part 2 (instrumental beginning only) V.O.: Everyday we go through our lives, idealizing ideas of love and triumph that films depictwaiting for that one dramatic moment when you meet someone and Marvin Gaye will blast through the room and you will know they are your soul mate. Or as you stand up for someone being bullied at school you imagine AC/DC playing in the background as you leave the room. In reality none of those “movie moments” with the perfect theme music and the perfect lines ever occurs- so why do directors, in their portrayal of the everyday lives of their characters feel it necessary to incorporate music into their films?

Music: Phoenix- Love is like a Sunset Part 2 continues vocalization begins Music: Phoenix- Love like a Sunset Part 2 continues

Visual Fade from black: a clip from Volver of Irene (Carmen Maura) sitting on the orange bed with her grandchild Paula (Yohana Cobo) watching tv, Paula is holding an antique doll Cut to: a scene from Somewhere when Johnny Marco (Stephen Dorff) and his daughter Cleo (Elle Fanning) are underwater pretending to drink tea Cut to Happy-Go-Lucky: Poppy stands in the midst of her primary school class- taller than all the kids. They’re all wearing decorated brown paper bags on their heads and as she calls out to them they all begin to flap their arms and turn about the room. Cut to scene from Amelie: Amelie pulls open the door to run after Nino but almost runs into him as he is standing at the door about to knock. He attempts to speak but she puts her hand over his mouth and slowly pulls him into her flat, closing the door behind him. Fade to black Title emerges- Score! The marriage of music and film

Music: Phoenix- Love like a Sunset Part 2 progressively fades out V.O.: The purpose of using music in films is to create an atmosphere within the scene, this can be useful as the emotions and thoughts of characters is difficult to display solely through acting

Cut to shot of mother in Volver, lying under the bed and laughing as she stares at the feet of her children and listens to them speak

V.O.: Although the mixing of music and stories in productions dates back to Greek Melodramas, and later opera

Still of early Greek potteryAchilles and Penthesileia by Exekias

Music: Accompanied piano music

Cut to: Scene from the 1895 film “L’arrivee d’un train a la Ciotat” the train is arriving at the station and people rushing towards it

V.O: The first documented pairing of music and film was in 1895 when a Parisian family screened their “moving picture” with a piano accompaniment. V.O: Before this, film had existed without any sound V.O: The revolutionary idea of combining music and movingpictures spread quickly and within a few months of that first screening theatres all over London were employing entire orchestras to accompany their films. V.O: Historians speculate that the popularity of this phenomena was most likely not an artistic enterprise, but an attempt to cover up the noise of the projector

Same scene from the film “L’arrivee d’un train a la Ciotat” plays in reverse with a sped up time frame

Archival footage of the film in a projector spinning

Music: Audio from the film The Jazz Singer, AL Jolson singing V.O: In 1927, with the release of “The Jazz Singer” and the beginning of the generation of films know as the “talkies”, speech in film was introduced. Different approaches to using music in film were taken and during the next ten years much experimentation occurred within this realm Music: ominous music from the opening scene of Citizen Kane V.O: In 1941 Orson Welles released his revolutionary film “Citizen Kane” this film was remarkable in respect to it’s score which took a new approach to the way music was used in films Music: Score from the scene, flutes that fade to a jazzy piano tune V.O: The score- created by Bernard Herrmann, was crafted for the edited film to reveal the psychological struggles and feelings of the characters and to create a specific tone for that scene V.O: With this film, the musical aspect of film-making was changed to becoming a partnership between visuals and music to enhance the film and create atmosphere V.O: Nowadays music is especially prevalent within films, directors use not only composed scores but also popular music to enhance and create mood Sound- Dialogue from film: Darth Vader: No, I am your father Dramatic music cuts in Luke: No, no…

Cut to: Clip from The Jazz Singer, Al Jolson singing and dancing with a band behind him, the shot closes in on his face as he uses his hands to make a whistling/bird noise to accompany his song. Shot switches to show May McAvoy watching Jolson

Cut to: Opening scene from Citizen Kane, as the shot opens we see a fence and a sign that says “no trespassing”, the shot pans up and the fence is replaced until we see the top of an ornamental gate with a large, dark mansion in the background perched upon a hill Cut to: scene from Citizen Kane, Billboard of his ex-wife appears, as the camera pans up to show a sign reading El Pancho, the shot moves into the house where we see his wife and a reporter

Shot from Star Wars as Darth Vader looks at Luke clutching at a metal structure, as Darth Vader confesses his identity we see a close up of Luke and his reaction as he hangs onto the ladder

Sound- Dialogue from the film. Dramatic music begins, the volume slowly increasing as Scarlet stands up. Scarlet: God as my witness, they’re not going to let me I’m going to live through this and when it’s all over I’ll never be hungry again V.O: Directed by Pedro Almodovar, scored by Alberto Inglesias, and starring Penelope Cruz; Volver revolves around two sisters who’s mother comes back to them after her death to deal with unresolved problems. The film received critical acclaim in Spain and was incredibly popular in it’s home country. It was well received at Cannes film Festival and it was there that it won the best screenplay and best actress awards. It was also recognized by the Golden Globes and the Academy Awards. V.O: Music is a predominant part of this film, in two major ways. In the first it’s used to create suspense

Scarlet O’Hara, looking worndown and tired, struggles to stand up, she holds her fist up to the sky

Cut to: Raimunda (Penelope Cruz) walks down the street with her daughter Paula after just discovering that her mother is still alive, she is crying and she must stop to lean against the wall, as they stop Paula reassures Raimunda and after a moment of hesitancy they turn back, running to the door of her sisters apartment

Cut to: Raimunda and her friend walk behind the truck and open the doors, they grab the pick and shovel and start digging

Music: Ominous and suspenseful non-diagetic track from film V.O: Because the film deals with situations in which there is mystery Audio from film: Knocking on the inside of the car Mother: Let me out Sole! More pounding Mother: let me out! I’m your mother!

Cut to: Sole gets out of her car and walks towards the building. She stops as she hears pounding coming from her car

V.O: and themes of tension and suspense Audio from film: Suspenseful music and diagetic sounds of the two women digging

Cut to: shot of Raimunda and friend in the car behind the freezer, they push it and it falls into the hole they have

V.O: Music plays an important role in creating that stressful atmosphere.

dug

Audio from film: Suspenseful music as Raimunda cleans up the blood on her floor

Cut to: Raimunda stands over the dead body of her husband, she rolls up her sleaves and pulls paper towels out of the cupboard, she places the towels over the blood and there is a close up of the paper as the blood soaks through it. Raimunda kneels and wipes at the blood

V.O: Music is also used to create a culturally rich atmosphere in which the audience can experience and relate to the lifestyle of these women.

Camera pans along length of Spanish guitars to Raimunda as she takes a breath and begins to sing. Her sister and daughter whisper to each other and in the car her mother rolls down the window to hear her as she continues with the song. Cut to: Opening scene from the film, women scrubbing the gravestones of their families

Music: Estrella Monrente- Volver Music: Audio from film- La Vecinas V.O: The film begins with musictraditional Spanish singing and the images of women cleaning the gravestones of their families. Because of the predominant themes of family and the strength of the bond between women that the film deals with, it is logical that the distinctive flamenco music would strengthen this idea. The music reminds us of a culture where family means everything.

The 4 women of the family sit in the car together, chatting and laughing.

Music: Audio from opening sceneupbeat music

Cut to: Opening scene of filmPoppy riding a bike down the street, cuts to looking into shops.

V.O: The British film Happy-GoLucky follows the story of Poppyan upbeat, eccentric primary school teacher as she negotiates driving lessons and new relationships. The film was directed by Mike Leigh and stars Sally Hawkins

V.O: Upon it’s release in 2008 it was praised for it’s portrayal of the characters and was nominated for an Academy Award for Best Original Screenplay The score, written by Gary Yershon, is used primarily to transition between scenes and places and is also used in the beginning to establish the forever optimistic and happy Poppy Music: Audio from film V.O: The film revolves around the character of Poppy, so it makes sense that the music also would be instrumental in reflecting her personality. The score within the film is composed mainly of piano (though certain aspects are emphasized in different parts) and it is used for the most part in scenes that transition between two locations or sequences. The music is barely ever used within a dialogue. V.O: This reflects the character of Poppy in that it accompanies movement and transition. Poppy is at a time in her life where everyone around her is expecting her to change and grow up Audio from film- Dialogue: Sister: You want a bay though don’t you Poppy? At 35 you’re considered a high-risk mum Poppy: Give me a chance I’ve just turned 30! Sister: It’s only 5 years away, you’ve got to make plans V.O: And she is content to stay in the same place. The music highlights this idea of change.

Cut to: Poppy and her family are walking by the sea, she is walking on the wall by the sea as opposed to the designated walking area

Cut to: shot of yellow wall, Poppy jumps in an out of the frame as she is at her trampoline class

Poppy, her two sisters, her best friend, and her brotherin-law sit together in the living room. Together they sit and begin to argue

V.O: The Sofia Coppola directed film Somewhere, released in 2010 follows Hollywood Actor Johnny Marco (Stephen Dorff) for the few weeks that his normal routine is interrupted by the arrival of his 11-year-old daughter (played by Elle Fanning).

Cut to: shot of Johnny Marko driving his car around and around a race course

Sound- Dialogue from film Cleo: Hi dad Johnny: Hey Cleo

He slowly wakes up and opens his eyes, shot changes to a close up of Cleo’s face, and then switches to a close up of Johnny reacting to her presence Stills: Sofia Coppola sitting behind the camera wearing big headphones, sitting in front of the green shrubbery that is in the poster of the film : Sofia Coppola looking through a small film camera

V.O: Sofia Coppola was the first American Female to win the Golden Lion at the Venice Film Festival for her work on this film, although it received mixed reviews from the general public.

Audio: Cleo and Johnny are playing the video game Guitar Hero and the song So Lonely by The Police V.O: The score to Coppola’s latest film is uncharacteristic from most American films in that there are only three cases of non-diagetic track throughout the entire film. Audio from interview Interviewer: I got the sense that the soundtrack in this film, the first time I heard it was almost like 70 minutes into the film Sofia Coppola: The music? I: Yeah SC: Oh, I- no it starts earlier but it kind of like- it’s very subtle so you don’t notice, it’s kind of mixed together with the sound design and I wanted to do the whole thing in a more minimal way I think so many movies you’re kind of bombarded with music that

Cut to: Cleo drawing a heart on his cast as he sleeps

Cut to: Shot of Cleo and Johnny’s backs as they stand playing the game, shot changes to a side view of them, both jump and move to the music, shot changes to see the tv screen

Sofia Coppola sits in front of a backdrop of the film poster for Somewhere, she is on the right side of the frame as she answers questions about her latest film.

I wanted this one to um have some breathing room

V.O: Because it follows the life of someone that the audience would expect to live very glamorously the lack of music is unnerving. Coupled with Coppola’s famous long shots and minimalism the film, absent of special effects and big movie stars rapidly seems alien. Stephen Dorff: By coming into this story, I wanted to set up his monotony, he’s got all these beautiful things around him: women, hotel suites, ferraris, yet he’s broke inside

Johnny Marko onstage at an Italian awards show, dancers come out from the structure behind him and begin dancinghe looks at Cleo in the audience and shrugs as he doesn’t know what to do

V.O: The music, or lack of, creates a very real and honest look into Johnny’s life- as in reality, very little of our day is accompanied by a personalized soundtrack.

Johnny walks into the bathroom and washes his face

Music: The Strokes I’ll Try Anything Once

Cut to: Johnny and Cleo play ping-pong at the hotel, they are filmed underwater at the pool pretending to drink tea, walking down a path and seeing a puppy

Music: La Valse d’Amelie

Opening credit sequence of Amelie as a child, playing with her hands, moving her mouth with a face drawn on her chin, pressing her face up against the glass, her profile with her wearing cherries over her ear, a close up of her face, Amelie knocking over an arrangement of dominoes,

V.O: In 2001 Jean-Pierre Jeunot released his film Le Fabuleux Destin d’Amelie Poulin which quickly rose to critical acclaimwinning several international awards. In 2001 it was nominated for 5 Academy Awards.

Interview with Stephen Dorff, set against the backdrop of the poster for the film of greenery and the Chateau Marmont peaking out.

The score to this film is very distinctive in that it features lots of accordion and piano compositions all created by Yann Tierson.

wearing big glasses

Music: La Banquet

Nino walks towards his bike and sees that a photo is pinned to the handlebars, he picks it up and reads the note

V.O: These pieces mimic stereotypical French street music and not only add to the cultural setting of the film, but also help in developing the character of Amelie Sound: Nino reading the letter Music: Yann Tierson- L’autre Valse d’Amelie V.O: On the cultural side- the accordion and piano tracks infiltrate the majority of the film creating a distinctively French atmosphere V.O: The only notable moments where there is no music occurs during conversations with her father and her neighbor Mr. Dufayel.

V.O: The conversations with her father are always strained and awkward and the absence of music highlights that aspect of their relationship Dialogue between Amelie and her father: Amelie: Dad, if you found a precious relic from your childhood how would you feel? Happy? Sad? Nostalgic? Father: This gnome isn’t a relic, he was a retirement gift from my old regiment Amelie: No I mean something you hid, like a secret treasure Father: I should varnish him

The end scene in which Amelie and Nino ride his through Montmartre

Shot of Amelie close up in the café where she works, the camera zooms in as she turns to look into the camera

Amelie and her father sit in the garden while her father mounts an old garden gnome on the shrine to Amelie’s mother. Camera pans slowly from the right, showing Amelie predominantly, to the left side to show the gnome in the center of the frame with Amelie and her father on either side

before autumn

V.O: With Mr. Dufayel, their conversations revolve around the mysterious girl in Renoir’s painting that is so difficult to capture- who becomes a metaphor for what is occurring in Amelie’s life. This silence highlights the importance of their conversation in physically pointing out the flaws of Amelie

Shot from down the hallway, Amelie sits with Mr. Dufayel as he paints, the scene shifts to a birds eye view of them looking up at the painting, alternates between shots of both their faces in their reactions to what is being said

Dialogue: Mr. Dufayel: In fact, she’s cowardly. That’s why I can’t capture her look V.O: The most important purpose of music within the film is to convey to the audience what Amelie feels. Because her character is very introverted and shy, the music helps in conveying her emotions to the audience.

Close up of Amelie’s expression as he calls her a coward Amelie walks into the café, Joseph and the writer are in the middle of grappling with each other, Madame Suzette leans over the counter as they stop fighting,

Dialogue: Joseph: Like Gina, you know who Gina’s with? The guy with the plastic bag!... he comes back and hey presto! Out they go

Joseph explains holding his glass, close ups of Amelie’s face gauges her reaction

Music: Ominous music

Close up of Amelie’s face as she looks confused and hurt

V.O: Although all these films have distinctly different themes and styles, they share certain musical techniques that contribute to the overall effect of the films

V.O: Both the films Volver and Happy-Go-Lucky use music to transition between sequences Sound: Suspenseful music plays as the card pulls up As the car door slams the music stops DialogueMother: We used to come here for picnics. Remember Raimunda? Music: Slow, melancholy music from scene

The car pulls up to the river bank and the women get out of the car, they all stand together

Poppy walks home after her terrible driving lesson, she is upset and walks by shops, looking out at the road and biting her lip. Scene switches to a close up of her face as she looks confused and worn out. Cuts to a scene of Poppy sitting on steps looking out

Music: Estrella Morente- Volver V.O: Both Amelie and Volver use music to create a culturally rich background that aids in painting a picture not only of the characters, but of their background and their surroundings. In an industry so dominated by Hollywood, this music sets the films apart from that stereotype and aids in creating a unique film

Raimunda sits surrounded by people and sings

Amelie sits on the back of Nino’s scooter as they drive around Montmartre

Music: Yann Tierson- L’autre Valse d’Amelie Music continues from Amelie V.O: Although the film Amelie plays great emphasis on the score and the music and in contrast Somewhere pays little attention to music as a mood-inducer, they both use music and the absence of it to create character Music: Phoenix- Love is like a Sunset part 2

Visual of Amelie and Nino on the bike continues

Johnny Marko driving out of L.A. and into the countryside, he gets out of the car, closes the door, and begins to walk away from his black Ferrari.

Creating a score for a film is an artistic endeavor that aids in creating the overall effect of the film.

Fade to black

References Films Amélie. Dir. Jean-Pierre Jeunet. Perf. Audrey Tautou and Mathieu Kassovitz. UGC-Fox Distribution, 2001. DVD. Chosen for it's critically acclaimed music-score and the focus on the development of character

Arrival of a Train at La Ciotat -- Arrivée Du Train En Gare De La Ciotat. Dir. Auguste Lumiere and Louis Lumiere. Auguste and Louis Lumière, 1895. Youtube. 30 June 2007. Web.Chosen for it's influence and importance in film history

Citizen Kane. Dir. Orson Welles. Perf. Orson Welles and Joseph Cotten. Mercury Productions, 1985. DVD.Chosen for it's revolutionary approach to the composition of the music score

Gone with the Wind. Dir. Victor Fleming. Perf. Vivien Leigh and Clark Gable. Selznick International Pictures, 1940.

DVD.Chosen for it's significance in film history and the notoriety of that scene

Happy-go-lucky. Dir. Mike Leigh. By Mike Leigh. Prod. Simon Channing-Williams. Perf. Sally Hawkins, Alexis Zegerman, Andrea Riseborough, and Sinead Matthews. Miramax Films, 2008.Chosen for it's portrayal of it's characters and the films critical acclaim

Somewhere. Dir. Sofia Coppola. Perf. Stephen Dorff and Elle Fanning. American Zoetrope, 2010. DVD.Selected for it's exploration of the characters and the development of story through the unusual music score

Star Wars: Episode V- The Emperor Strikes Back. Dir. Irvin Kershner. Perf. Mark Hamil, Harrison Ford, and Carrie Fisher. 20th Century Fox, 1980. DVD.Chosen for the notoriety of the scene and the effect created by the music score

The Jazz Singer. Dir. Alan Crosland. Perf. Al Jolson and May McAvoy. Warner Bros., 1927. DVD.Chosen because it was revolutionary in it's sound production and signified the beginning of a new era of film-making

Volver. Dir. Pedro Almodovar. Perf. Penelope Cruz and Carmen Maura. Sony Pictures Classics, 2006. DVD.This film was chosen based on it's critical acclaim (which all the films

have in common) and it's portrayal of the story of a family and the developments of the characters

Interviews Coppola, Sofia. ""Somewhere" Sofia Coppola Interview." Interview by Hollywood.com. Youtube. 20 Dec. 2010. Web.Chosen because it addresses Coppola's approach to the sound design of Somewhere

Dorff, Stephen. "Stephen Dorff Interview SOMEWHERE." Interview by Blacktreemedia. Youtube. 19 Dec. 2010. Web.Chosen for Dorff's insight on his character

Film History Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History. New York: Oxford UP, 2010. Print.