Letter to Letter - A Short Film by Anna Cook Roth
My short film, titled “Letter to Letter" is a piece I have written, filmed and directed for one of my A-Level classes. The short film takes place in a small neighbourhood where nothing interesting happens, until Julian shows up.
I wanted to challenge myself by using two different director styles, and creating a short film from this. I picked Edgar Wright as well as Wes Anderson, two directors with adverse film approaches. I chose to use Edgar Wright’s editing style. I took inspiration from his movie, “Shaun of the Dead”, with the mini zoom in montages of characters getting ready. This film technique is seen in the montages when Julian whips out a cigarette, and when Layla posts her letter to Charles. I also used non-diegetic sounds and selective sound, such as footsteps and writing on paper.
I took a lot of time researching into Wes Anderson’s movie style, as he is one of the most recognisable directors though his film work. Wes Anderson uses interesting language barriers in all his movies. Humour and, at times, non-direct conversations, for example, two different languages are spoken to create comedic effect. This is seen in my work throughout Letters. I wanted the characters to communicate in a non-direct format, yet still feel like they are connecting through the audience's eyes. This can be seen in movies by Wes Anderson such as “Moonrise Kingdom” and “The Royal Tenenbaums”.
Wes Anderson also uses over exotic characterisation and obsessions. This is a common theme in all his movies. For example, M. Gustave from “Grand Budapest Hotel” has an obsession with running a hotel. Weasel from “Fantastic Mr. Fox” is obsessed with abandonment. Chase from “The Royal Tenenbaums” is obsessed with his kids’ safety. This characterization is so externalized that it is comedic to the audience. I wanted to achieve this with Julian's obsession with being a spy. Julian takes things so seriously and so intensely that it creates a comedic effect to the audience.
Wes Anderson's most signature film techniques are his surreal long shot takes in his movies. The camera work is fascinating and takes on a very different way of filmmaking. camera angles in movies are not supposed to be noticeable to the audience. However, Anderson takes a very different approach, he wants the audience to notice small details. In the opening scene I used a POV shot of Julian that turned into a medium shot of him. I wanted the audience to notice, and pay attention to every single step he takes. I used the long shot technique in the third scene when we see Layla writing a letter to Charles as the camera transports almost through the door and into the room.
Wes Anderson also uses very symmetrical framing in his work, creating a satisfying aesthetic that makes the audience feel nostalgic when watching. I used this technique in the first scene in the long shot of Julian and in the second scene of Julian leaning against the wall, writing his final letter to Charles.
Видео Letter to Letter - A Short Film by Anna Cook Roth канала Anna-Rebecca
I wanted to challenge myself by using two different director styles, and creating a short film from this. I picked Edgar Wright as well as Wes Anderson, two directors with adverse film approaches. I chose to use Edgar Wright’s editing style. I took inspiration from his movie, “Shaun of the Dead”, with the mini zoom in montages of characters getting ready. This film technique is seen in the montages when Julian whips out a cigarette, and when Layla posts her letter to Charles. I also used non-diegetic sounds and selective sound, such as footsteps and writing on paper.
I took a lot of time researching into Wes Anderson’s movie style, as he is one of the most recognisable directors though his film work. Wes Anderson uses interesting language barriers in all his movies. Humour and, at times, non-direct conversations, for example, two different languages are spoken to create comedic effect. This is seen in my work throughout Letters. I wanted the characters to communicate in a non-direct format, yet still feel like they are connecting through the audience's eyes. This can be seen in movies by Wes Anderson such as “Moonrise Kingdom” and “The Royal Tenenbaums”.
Wes Anderson also uses over exotic characterisation and obsessions. This is a common theme in all his movies. For example, M. Gustave from “Grand Budapest Hotel” has an obsession with running a hotel. Weasel from “Fantastic Mr. Fox” is obsessed with abandonment. Chase from “The Royal Tenenbaums” is obsessed with his kids’ safety. This characterization is so externalized that it is comedic to the audience. I wanted to achieve this with Julian's obsession with being a spy. Julian takes things so seriously and so intensely that it creates a comedic effect to the audience.
Wes Anderson's most signature film techniques are his surreal long shot takes in his movies. The camera work is fascinating and takes on a very different way of filmmaking. camera angles in movies are not supposed to be noticeable to the audience. However, Anderson takes a very different approach, he wants the audience to notice small details. In the opening scene I used a POV shot of Julian that turned into a medium shot of him. I wanted the audience to notice, and pay attention to every single step he takes. I used the long shot technique in the third scene when we see Layla writing a letter to Charles as the camera transports almost through the door and into the room.
Wes Anderson also uses very symmetrical framing in his work, creating a satisfying aesthetic that makes the audience feel nostalgic when watching. I used this technique in the first scene in the long shot of Julian and in the second scene of Julian leaning against the wall, writing his final letter to Charles.
Видео Letter to Letter - A Short Film by Anna Cook Roth канала Anna-Rebecca
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