Natural Born Killers, Art Direction, looking into the future.
'The key lime is great, but it's an acquired taste.'
'The key lime is great, but it's an acquired taste.'
Aye there be spoilers in them passages matey!
ye've been warned |
http://suntayea.wordpress.com/Introduction |
The film follows two victims of parental abuse who rise against their tormentors and set themselves free by murdering Mallory, the heroine of tales parents. Mickey, the questionable hero, has already been to jail for a joyride charge and they commit over 50 murders together, becoming a media storm when interviewed and made popular in American crime worship culture. After being caught they plan to break free from jail while they are being transferred into a mental health facility by using vulture like media as cover. However the detective who caught them, Jack Scagnetti , is planning to kill them while they are being transferred. (Canavese)
Composition
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| http://iloveretro.tumblr.com/page/236 |
Colour is important in composition and here the white really stands out against the similar hues of green in the background. It draws attention to the way he holds the meat delivery, he cradles it like a child.
The door in between them also stands out against the colours. I think this Exaggerates the idea of them going outside to freedom together; this is also made clearer by the posture of the two figures, curved against each other like they are familiar.
To add to the intimacy of the scene the lamp creates a observer perspective, cutting us off from a full view and
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| Edited by myself, original: http://iloveretro.tumblr.com/page/236 |
creating a frame to the image.
This last row is all about the drama, the examples here are the classic low key lighting used in photography, these images have one job and that is to evoke emotion. Whether it be aggression, passion or to allow the viewer to see the malevolent undertones of the ‘good guys’ like Jack Scagnetti. Here the director is looking for the few film stills to be proud of, those classic images that scream subtext, they haven’t failed to deliver this promise.
The contrast of the lighting on his face paralleled to hers indicates he is the corrupted character and the pale softer light on Malroy confirms her to be the victim. Adding in the contorted figure of Malroy, writhing to bend away from her captor and the raw scratches on Scagnetti’s face emphasizing that he is a dangerous character; it’s clear how little details amplify and construct mood. Mastering the correct level of detail for an image is critical in understanding directing and becoming an artist.
I would truly recommend it to anyone, although it comes with an 18 sticker for a reason, it’s not for the faint of heart.
Colour in film is a lot more prominent with unique almost niche uses, because the script is like a book, it’s good to pull away from the colours we associate with and push them so the images become surreal and more interesting. Too far and the artistic level becomes editorial, too little and the films imagery is bland. This stands as important in games as in films, but sometimes this is forgotten in indie or more realistic titles.
Due to hyperrealism in 3D, many games like Call of Duty Ghosts, focus on the game play and creating visual effects that are stunning, but not always engaging in storytelling. For some, films like Oblivion, have too much stunning environment and not enough quality narrative; though concept and outcome are fantastic a fraction of the entertainment was lost. I think games are going to be at this risk too, although games like the last of us prove to be visually exquisite and captivate in plot, this could still be an issue in games to come.
Games that somewhat have started looking into this colour washing or hyper restrictive pallets are games like Rule of Rose, which has an end chapter of play in sepia. Nonetheless I’ve looked into the recent Wolf Among Us, intended to be a narrative based game and to have a combat system used as part of engrossing with that narrative, interestingly this system also is shaping the plot you receive.
Canavese (2008) Natural Born Killers [Online] Groucho Reviews. Available from: http://grouchoreviews.com/reviews/3117 [Accessed 18/04/2014]
Shape & Form
Oliver Stone shows great attention to detail with the way he
uses shape and form to add to the atmosphere and subtext of an image.
Looking at the slumped shape of the fathers posture, how it’s
passive, bent over so he’s the victim now. Or looking at the triangles of her
pose, the way they match the room and the angles reflect her dominance and strength
over him. The shoes they are wearing even exaggerate this, with Mallory in army
boots and him in slippers.
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| Edits by myself, original: http://cinemainmente.blogspot.co.uk/2011/06/natural-born-killersdi-oliver-stone.html |
Colour
The first images show how the red is shown to presence passion
or anger; this technique is very unique to this film and bleaches over all the information
and heightens the emotional response to the viewer.
 |
| A) red image 1 http://rhettview.blogspot.co.uk/2009/10/natural-born-killers-directors-cut-blu_18.html B) red image 2 http://houseofgeekery.com/2013/01/25/tarantino-is-review-natural-born-killers/ C) green image 1 http://girlandgun.tumblr.com/page/2 D) green image 2 http://houseofgeekery.com/2013/01/25/tarantino-is-review-natural-born-killers/ |
The Green images however do the same thing but create confusion and disorientation it creates the heat of the moment atmosphere that you experience under extreme pressure.
I think this technique is under used and creates extreme tension without using that much visual effect it’s very simple for how effective it is.
Natural Born killers is no different to many other films in
that the lighting is extremely well thought out.
Lighting
Every setting has a reason for the choice of lighting; here
soft lighting has given the halo effect cause by a small back light. It’s used
to show the tenderness to the couple, it exaggerates the affection they have
and allows the viewer to see a gentle nature to malicious characters.
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| A) http://imgfave.com/search/natural%20born%20killers B) http://capstuff.tumblr.com/page/4 C) http://jake-weird.blogspot.co.uk/2012_06_01_archive.html?m=0 |
The middle row in contrast looks at lighting that breaks the
fourth wall; this lighting is used in moments where you've taken the place of
the involved observer rather than a passive bystander. The lighting is in your direction,
to me it’s reminiscence of paparazzi, sporadic, audacious, in your face and invasive.
It creates an atmosphere of the discomfort that in front of the camera gives,
yet all these scenes are spontaneous; using this emotional response to show how
the involuntarily involved side character is feeling, without even displaying
their face.
 |
| A) http://imagemoving.blogspot.co.uk/2011/12/line-in-natural-born-killers.html B) http://moviepilot.com/posts/2014/03/02/unsung-cinema-natural-born-killers-1994--2-1261694?lt_source=external,manual C) http://www.listal.com/viewimage/1672945 |
This last row is all about the drama, the examples here are the classic low key lighting used in photography, these images have one job and that is to evoke emotion. Whether it be aggression, passion or to allow the viewer to see the malevolent undertones of the ‘good guys’ like Jack Scagnetti. Here the director is looking for the few film stills to be proud of, those classic images that scream subtext, they haven’t failed to deliver this promise.
 |
| A) http://fashiongrunge.com/2013/09/26/throwback-thursday-natural-born-killers/ B) http://www.film.it/news/film/dettaglio/art/top-five-elementare-mr-downey-9069/ C) http://1001movieman.blogspot.co.uk/2012/11/873-natural-born-killers-1994.html |
Mood
In this image the mood is intense, this is because of several aspects, foremost colour and lighting. The green behind Jack Scagnetti shows his envy of Micky and his wanting of Marloy, the red on his face reflects the cruel thoughts and lust he feels.
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| http://www.imdb.com/media/rm4081364992/ch0006756 |
The contrast of the lighting on his face paralleled to hers indicates he is the corrupted character and the pale softer light on Malroy confirms her to be the victim. Adding in the contorted figure of Malroy, writhing to bend away from her captor and the raw scratches on Scagnetti’s face emphasizing that he is a dangerous character; it’s clear how little details amplify and construct mood. Mastering the correct level of detail for an image is critical in understanding directing and becoming an artist.
 |
| http://www.artofthetitle.com/title/natural-born-killers/ |
Why I like it
The credits really sum up the surreal yet satirical nature of the film, it’s a good combination of artistic and storytelling. Many cult classics have a balance of artistry and engaging plot line which make them so popular Natural Born Killers is no different, conversely the extreme use of techniques and just how enthralling the action is throughout put it ahead in my book. To me it’s a film that pushed the boundaries of what you can do with a mainstream film before it becomes too outlandish to keep up with the plot.I would truly recommend it to anyone, although it comes with an 18 sticker for a reason, it’s not for the faint of heart.
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| Green images 1) http://www.dvdbeaver.com/film3/blu-ray_reviews52/oliver_stone_collection_blu-ray.htm 2) http://kolson-kevinsblog.blogspot.co.uk/2010/09/oliver-stone-natural-born-killers.html 3) https://www.youtube.com/watch?v=P1eq0ztXMiw 4) http://www.culturesnob.net/2007/04/how-sexy-am-i-now/ Wolf Among Us Images 1) http://www.gamespot.com/the-wolf-among-us/ 2) http://n0tanexpert.wordpress.com/2014/02/12/the-wolf-among-us-episode-2-smoke-mirrors-notanexpert-review/ |
New media and ideas for development
Given the supreme use of colour and mood in the film these are the aspects I would apply to games. Using the tense atmosphere that the green conjures fight scenes or confused atmospheres could be made more intense, just by the simple use of colour washed pallets (Above).Colour in film is a lot more prominent with unique almost niche uses, because the script is like a book, it’s good to pull away from the colours we associate with and push them so the images become surreal and more interesting. Too far and the artistic level becomes editorial, too little and the films imagery is bland. This stands as important in games as in films, but sometimes this is forgotten in indie or more realistic titles.
Due to hyperrealism in 3D, many games like Call of Duty Ghosts, focus on the game play and creating visual effects that are stunning, but not always engaging in storytelling. For some, films like Oblivion, have too much stunning environment and not enough quality narrative; though concept and outcome are fantastic a fraction of the entertainment was lost. I think games are going to be at this risk too, although games like the last of us prove to be visually exquisite and captivate in plot, this could still be an issue in games to come.
Games that somewhat have started looking into this colour washing or hyper restrictive pallets are games like Rule of Rose, which has an end chapter of play in sepia. Nonetheless I’ve looked into the recent Wolf Among Us, intended to be a narrative based game and to have a combat system used as part of engrossing with that narrative, interestingly this system also is shaping the plot you receive.
Example of what I mean
Looking further into the Wolf Among Us, due to its already very restrictive pallet; to show what I mean, I've roughly drafted up how I would use the technique of colour washing (Above). |
| Green scene http://www.1080pness.com/post/3070329646/natural-born-kills-the-pness Wolf Among Us http://gameversevault.com/the-wolf-among-us-ep1-review/ edits by me. |
I've overlaid green onto the fight scene. It’s clear which is more confusing and intense, but it doesn't take away from the visuals, if anything it enhances the focus only giving the emotional response of disorientation rather than an annoying mechanic.
I think it gives food for thought on how far we can push games, given the surreal nature of many video game plots, environments and contexts. Given the freedom of world we make in games why not experiment? It’s not something out of the blue or plucked from the sky that would only be an experiment after all, it’s an old approach on a new media. Much like Fritz Lang’s M, horror wasn't new, but a horror film certainly was.
I think it gives food for thought on how far we can push games, given the surreal nature of many video game plots, environments and contexts. Given the freedom of world we make in games why not experiment? It’s not something out of the blue or plucked from the sky that would only be an experiment after all, it’s an old approach on a new media. Much like Fritz Lang’s M, horror wasn't new, but a horror film certainly was.
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| http://www.ifi.ie/film/natural-born-killers-4/ |
Regardless of all this the film is wonderful, it's deep and
thought through and well executed. It comes all together nicely from start to
finish, I guess it deserves it's cult status as a classic.
I think the film would translate into a game in its own right
perfectly too, the idea of playing from different view to how the film presents
is an interesting thought too. But nonetheless, thanks for reading, I hope you
can appreciate the passion for this film I hold.
Canavese (2008) Natural Born Killers [Online] Groucho Reviews. Available from: http://grouchoreviews.com/reviews/3117 [Accessed 18/04/2014]
Natural Born Killers (1994) Film. Directed by Oliver Stone. USA Warner Bros.
