Notes
music
effects like saw / chainsaw, clanging, screeching, door creek, static electricity, white noise, scream and synth give a very un-settleing feeling to the audience. these effects are over a simple drum beat which tempo increases near the end
Words
subliminal words such as 'pregnant' and 'intercourse' are crossed out in a book (1:07) and enigmas such as 'B25' randomly flash on the screen which intreagues the audience.
imagery
the whole sequence is in sepia which gives it an old effect, and alot of creepy imagery is used like the killer razor blading his finger prints off, scissors cutting disturbing images of torcherd people and film paper cut and put into a old looking scrap book sown together by a needle
Alfred Hitchcock - North by Northwest opening title sequence
North By Northwest - Title Sequence, Musical Score. Watch more top selected videos about: North by Northwest, Alfred Hitchcock
Visual
Hitchcock starts his film North by Northwest with a basic green screen. lines move onto the green screen by animation to make a grid shape giving a sense of perspective. Titles follow the grids slant as they move onto the screen to the centre. The title of the film North by Northwest moves onto the screen with arrows facing north from the N of North and a arrow facing west from the T of Northwest.
the animation of the grid the dissolves into a building, the buildings windows mirror the traffic below in the streets we assume to be New York as their are alot of yellow taxi's within the large amount of traffic. the shot of the building slowly dissolves (to relate to shots) into people on the street below leaving the building dressed in work clothes towards the subway so we assume they have just finished work also due to the fact that the streets are very busy (aka rush hour) we see alot of chaotic type things going on in the streets such as two wimen fighting over a taxi and Alfred Hitchcock staring in his own film missing his bus as it is too full.
Audio
the background music to this opening sequance is that of a classical orchastra type giveing you an unsettled feeling, the flute is high pitched raiseing your anixiety level, and the trumpet and other brass instruments represent the traffic and the busy New York streets. The music is fast paced representing the fast pace of New Yorks rush hour.
my own definition of a thriller
A thriller is a movie genre with an extremely gripping story line, thrillers are full of suspense to keep the audience entertained and make them want to keep watching to find out what is about to happen. thrillers usually seem to contain action and crime as sub genres to make the film more exciting and entertaining. Alfred Hitchcock's movies are in my eyes the most popular and greatest thrillers ever made with his very clever ways to make a gripping story line and camera works such as the money in psycho when Marion steals the money the camera follows it so the audience know where it is to give of a strong emotional tension.
Sound and editing are the main conventions for the thriller genre for example quick cuts and effective ranges of camera angles with a classical orchestra playing a suitable way to build tension
Popular thrillers of the last 20 years
Popular thrillers of the last 20 years
Last 20 years
1. inception (2010)
2. pulp fiction (1994)
3. the dark night (2008)
4. fight club (1999)
5. the usual suspects (1995)
6. the silence of the lambs (1991)
7. memento (2000)
8. se7en (1995)
9. leon (1994)
10. terminator 2 (1991)
11. the lives of others (2006)
12. the departed (2006)
13. reservoir dogs (1992)
14. L.A confidential (1997)
15. the prestige (2006)
16. inglourious bastards (2009)
17. old boy (2003)
18. sin city (2005)
19. batman begins (2005)
20. hotel rwanda (2004)
Most popular 2010
1. the town
2. inception
3. machete
4. predators
5. let me in
6. devil
8. monsters
9. resident evil: afterlife
10. the expendables
Media homework: choose a thriller and research the storyline and production team
Alfred Hitchcock - psychoMedia homework: choose a thriller and research the storyline and production team
storyline
Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam's California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.
Production team
Produced by | |||
| Alfred Hitchcock | .... | producer (uncredited) | |
Original Music by | ||
| Bernard Herrmann | (music by) | |
Cinematography by | |||
| John L. Russell | (director of photography) | ||
Film Editing by | |||
| George Tomasini | |||
Casting by | |||
| Jere Henshaw | (uncredited) | ||
Art Direction by | |||
| Robert Clatworthy | |||
| Joseph Hurley | |||
Set Decoration by | |||
| George Milo | |||
Costume Design by | |||
| Rita Riggs | (uncredited) | ||
Makeup Department | |||
| Jack Barron | .... | makeup supervisor | |
| Florence Bush | .... | hair stylist | |
| Robert Dawn | .... | makeup supervisor | |
| Larry Germain | .... | hair stylist (uncredited) | |
Production Management | |||
| Lew Leary | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Hilton A. Green | .... | assistant director | |
| Lester Wm. Berke | .... | second assistant director (uncredited) | |
Art Department | |||
| Curtis Baessler | .... | assistant props (uncredited) | |
| Saul Bass | .... | storyboard artist (uncredited) | |
| Bob Bone | .... | props (uncredited) | |
| George Cook | .... | assistant prop shop (uncredited) | |
| Dave Lee | .... | prop shop (uncredited) | |
| Harold Wolf | .... | leadman (uncredited) | |
Sound Department | |||
| William Russell | .... | sound recordist | |
| Waldon O. Watson | .... | sound recordist | |
| Robert R. Bertrand | .... | mike technician (uncredited) | |
| John Ruth | .... | cable man (uncredited) | |
| Harold Tucker | .... | sound recordist (uncredited) | |
Special Effects by | |||
| Clarence Champagne | .... | special effects | |
| Walter Hammond | .... | special effects (uncredited) | |
Camera and Electrical Department | |||
| Robert Aldridge | .... | grip: Phoenix (uncredited) | |
| Jack Austin | .... | grip: Phoenix (uncredited) | |
| Eugene Barragy | .... | key grip: Phoenix (uncredited) | |
| Walter Bluemel | .... | assistant camera: Phoenix (uncredited) | |
| Robert Burkett | .... | camera operator: Phoenix (uncredited) | |
| Norman Cassidy | .... | best boy electric (uncredited) | |
| William N. Clark | .... | second assistant camera (uncredited) | |
| Eugene Cook | .... | still photographer (uncredited) | |
| Bill Craemer | .... | still photographer (uncredited) | |
| Alan Davey | .... | camera operator (uncredited) | |
| Bobby Greene | .... | first assistant camera (uncredited) | |
| Frank Harper | .... | key grip (uncredited) | |
| George H. Merhoff | .... | gaffer (uncredited) | |
| Saul Selznick | .... | second company grip (uncredited) | |
| Jim Sloan | .... | first assistant camera (uncredited) | |
| Leonard J. South | .... | camera operator (uncredited) | |
| Richard Sutton | .... | best boy grip (uncredited) | |
| Tommy Wilson | .... | electrician (uncredited) | |
| Rex Wimpy | .... | director of photography: Phoenix (uncredited) | |
| Rex Wimpy | .... | second camera operator (uncredited) | |
Costume and Wardrobe Department | |||
| Helen Colvig | .... | costume supervisor | |
| Theodore R. Parvin | .... | wardrobe: men (uncredited) | |
Other crew | |||
| Saul Bass | .... | pictorial consultant | |
| Saul Bass | .... | title designer | |
| Virginia Boyle | .... | stand-in (uncredited) | |
| Everett W. Brown | .... | technical advisor (uncredited) | |
| John 'Bud' Cardos | .... | bird handler (uncredited) | |
| Frank da Vinci | .... | stand-in (uncredited) | |
| Anne Dore | .... | double: Anthony Perkins (uncredited) | |
| John Drake | .... | stand-in: Anthony Perkins (uncredited) | |
| Margo Epper | .... | body double: Mother in shower sequence (uncredited) | |
| June Gleason | .... | stand-in: Vera Miles (uncredited) | |
| Charles S. Gould | .... | location director (uncredited) | |
| Melvin Hilgenfeld | .... | technical advisor (uncredited) | |
| William T. Hurtz | .... | director: animated titles (uncredited) | |
| Myra Jones | .... | body double: Janet Leigh (uncredited) | |
| Myra Jones | .... | stand-in: Janet Leigh (uncredited) | |
| Richard Kindelon | .... | stand-in (uncredited) | |
| Harold Lockwood | .... | stand-in: Martin Balsam (uncredited) | |
| Paul Mathews | .... | stand-in: John Gavin (uncredited) | |
| Jim Merrick | .... | unit publicist (uncredited) | |
| Marli Renfro | .... | shower scene double: Janet Leigh (uncredited) | |
| Peggy Robertson | .... | assistant: Mr. Hitchcock (uncredited) | |
| Marshall Schlom | .... | script supervisor (uncredited) | |
| Herb Steinberg | .... | publicity director: Paramount (uncredited) | |
| Dolores Stockton | .... | secretary: Mr. Hitchcock (uncredited) | |
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