Two Examples of Films Opening Sequences: L.A. Confidential.

L.A. Confidential
1997
Directed By: Curtis Hanson

Like Bridget Jones, we're introduced first hearing music; in this instance, old style jazz music (relevant to noir) as we fade into a postcard from California. The voice over starts and talks about L.A. in an almost holiday representative manner. They really want you to know where this is set and this makes the location seem extremely important. A serif-style, quite grand typeface appears in yellow, introducing the institutions and companies that contributed towards the film.

We then see a a huge montage of shots. Mise-en-scene wise, it's notable that this is not set in the time it was released; outfits and general style is very 70's, the colours generally are faded and dull, and the shots are blurred. Still seemingly trying to "sell" L.A. to the audience, the voice-over continues as a montage of similarly styles shots appear.

Introduced to a split screen of four different shots, "L.A. Confidential" logo is places in the middle, as all shots show factory work. Cutting to a single screen, the movie title still there, we see a birds eye view of L.A. scenery as the jazz music continues.

Another set of montages, still in a very old-fashioned style continues. We see pool scenes, a family at a dinner table, suburban streets as the non-diegetic voice-over corresponds to the shown shots. Religious imagery is shown as the family are at the table; notably a white family of two males, two females which contributes the idea of 'the American dream'.

Furthering that idea, the montage continues, but shows very glamourous shots of camera-flashes, actresses, red carpet events etc. more imagery is shown, but reffering to police and drug crime. We're shown shots of TVs with cop shows on them as the voiceover gives us information about "the best police-force in the world".

We're introduced to characters in this scene as we enter a very old-school diner and the voice-over exclaims; "It's paradise on earth! haha... that's what they tell ya' anyway. Because they're selling an image; for movies, radio, tv... But. There's trouble in paradise... and his name is Myer Harris Cone." Here, we pan the diner to a long shot of a very well, yuppie-ish dressed man dancing with a woman. His costume shows his wealth and status, social class etc. This makes the audience wonder why is he is dangerous and question what he does, what he's done, why is he so infamous? We enter yet another similar montage, but this time focusing on organised crime. We see close ups of drugs, crime scenes, and most importantly, we zoom in on newspaper headlines.

We now see a reflection of a huge neon-lit building in a reflection of a building window at night. The camera pans around to introduce a character sat at a desk with a typewriter, which we hear far before we see him. The room is darkly lit and he appears to be wearing a shirt, glasses and a trilby hat (also very noir). We notice he's saying the voice over and typing what the voice-over has been all this time so the sound switches to diegetic, but creates more question; who is he? Shot from eye-level, the mid-shot pans around him but then cuts to a pile of magazines, titled "Hush-Hush" which gives the audience the impression he's a journalist of some sort. The shot fades to black and both the music and voice-over end as the same titles that appeared at the beginning titles re-appear.

Breif Addition To The Script

After writing the script, collectively, we decided that our noir opening would really benefit from a voice-over to help the narrative flow and give the audience a clearer illustration of what is and has happened. Unfortunately, we made this decision and wrote the voice-over after the script was complete. So here, I've attached the original:

Click to view full-screen.

Ben's Voice-Over:

Whilst pacing: What a stupid bitch! I fucking new something like this would happen. How did she even end up in my bed?! I told her no a million times. No one even wanted her here anyway. Looks like we got what we wanted.

On the bed: Oh my god, what the hell am I going to do? I barely remember a thing! Anyone could have done this – even me…

(Paperwork By: Amy Meitiner, Producerr)

Brief Post on Editing Paperwork

Something I failed to mention previously, which is a hugely important step when it comes to post-production and editing, was the logging sheets we completed. I (the editor), Amy Meitiner (producer) and Kira Knight (Art Director) all sat at the editing machine got down to the post-production paperwork. This gives us a really clear overview of the shot number, take, description, usability etc. which is great if you ever need more footage when it comes to the edit. Once this was complete, we picked out the shots we were using, highlighted them and I began to log and capture.

Here are the logging sheets:
(Sorry for the small size: They won't seem to enlarge.)

(Log Sheets by: Amy Meitiner & Kira Knight)

Editing Update 3: Editing Techniques

Here's a really short video I threw together at home to give some idea the editing techniques we used in our Film Noir Opening; A Killing Conscience:

"A Killing Conscience" Audience Feedback

Here's just a quick note on what our test audience had to say about our Noir Opening; A Killing Conscience. After this, we made all possible necessary changes such as titles and music. It was a really helpful experience and a few things were pointed out that we'd never noticed ourselves.

Click to view full-size

Final/Revised Film Noir Opening Script

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

The room is dark as the curtains are closed on the large window that takes up the whole of the central wall. Clothes lay strewn across the floor; coins, cigarettes and their packets litter the side of a large desk to the left side of the room. To the right, against the wall is a single bed with two inhabitants sleeping under the duvet. One is a boy in his late teens named BEN, his head leans against the head of a girl of a similar age named KIRA.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN wakes up, he rubs his eyes wearily and slowly gets out of bed, walks over to the window and opens the curtains. Sunlight floods the room.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

Upon the desk is a mirror which Ben looks into sleepily, he realises that he has blood on his face and proceeds to rub it off, but it doesn’t.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN realises that the blood is not his. He is shocked and turns to look at KIRA.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN anxiously walks over to KIRA in the bed who still hasn’t moved. She appears to be fine so he rolls her over so that he can see the right side of her body.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

The right side of her face is covered with a large bruise to her eye and cheek, and her lip is cut and laced with dried blood.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN looks indifferent and suspiciously walks over to the window and closes the curtains. He then starts to pace up and down the length of the room repeatedly. He then walks over to the desk and picks up one of the cigarette packs, gets out a cigarette and then sits on the edge of the bed.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN sits on the edge of the bed with a cigarette in his mouth, he searches for a lighter – patting down his pockets and looking around – but doesn’t find one so he takes it out of his mouth. He rubs his neck tensely then stares pensively into the air.

CUT TO:

INT. BED’S HOUSE. STAIRS. FLASHBACK OF THE NIGHT BEFORE

BEN walks down the stairs. AMY sits on the right side of the stairs, mid way down. she looks ill. Ben taps her caringly on the head.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

BEN sees AMY and KIRA sit on a sofa next to each other. KIRA pours a shot.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

On the left side of the room is another sofa. BEN sees CAMERON and EMILY sit on it with their legs entwined, flirting.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

KIRA comes up to BEN drunkenly clutching a bottle of vodka.

KIRA

(Inebriated)

Hey babe, you look so good tonight! Do you wanna dance or something?

BEN

(Disgustedly)

You’ve had too much to drink!

KIRA

(Frenzied)

Too much?! Not enough! I mean just…

AMY appears in front of BEN and shoves KIRA hard out of the way bitchily. AMY looks directly at BEN.

AMY

(Smugly)

Come dance with me!

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

BEN sees KIRA sits on the sofa that she had previously done with AMY. However this time she is sitting with MADELEINE and sobs mercilessly on her shoulder. Then she stops and stands up defiantly and walks out of the room.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

BEN sees EMILY and CAMERON standing in the doorway of the room flirting with each other. KIRA appears from the corridor. She walks over to CAMERON, grabs him and kneels in front of him, begging him for his attention.

CUT TO:

EXT. BED’S HOUSE. GARDEN. FLASHBACK OF THE NIGHT BEFORE

BEN leans out of his bedroom window for a cigarette, as she goes to light his cigarette, he sees EMILY and CAMERON in the garden below. They intimately embrace. However KIRA runs out into the garden from inside the house and pushes them apart. EMILY stands back in horror as KIRA violently slaps CAMERON.

CUT TO:

INT. BED’S HOUSE. HALLWAY. FLASHBACK OF THE NIGHT BEFORE

BEN sees CAMERON walk up the stairs with a bottle of alcohol in his hand. He stumbles drunkenly.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

BEN looks wearily into a large mirror hanging on the living room’s wall. He rubs his face indicating that it has been a long night. KIRA bounds up behind him bright eyed and bushy tailed – a far cry from the state that she was in in the previous scene. This angers BEN. He turns around.

CUT.

BEN stares at KIRA, who looks fanatical.

KIRA

(Excited)

Are you ready for your dance yet babe?

BEN

(Fustrated)

Look, I told you before!

KIRA

(Frantic)

What have I done?!

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

AMY sits spread out on the left side of the room against the wall. She is drinking. BEN sits on a bean bag opposite it and KIRA lays on the floor with her eyes closed in-between. BEN looks at AMY.

BEN

(Concerned)

Do you think she’s ok?

AMY turns to look at him.

AMY

Who cares!? She’s a dirty mess.

Just as she finishes speaking AMY throws a cigarette packet at KIRA. This rouses KIRA and she opens her eyes.

KIRA

(Infuriated)

Leave me alone, you dirty skank!!

KIRA gets up and leaves.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

BEN sees various people throughout his lounge feeling the effects of his party; EMILY passed out on the sofa on the left side of the room, a boy being sick into a bucket and on the other sofa loads of girls still drinking.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

KIRA sits curled up in the corner of the room, sobbing and clutching a near empty bottle of vodka.

CUT TO:

INT. BED’S HOUSE. LOUNGE. FLASHBACK OF THE NIGHT BEFORE

The lights flicker on and off, and the room appears to spin to BEN as he sees everyone dancing to loud music.

CUT TO:

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

BEN sits on the edge of the bed; he stares forward, deep in thought. He hears the bedroom door opening so he turns his head to see who it is.

INT. BEN’S BEDROOM. BED’S HOUSE. MORNING

The door handle slowly turns, and opens an inch.

END.

(Written by Producer: Amy Meitiner)