1) What does Thomas Sutcliffe mean when he says "Films need to seduce their audience into long term commitment. While there are many types of seduction, the temptation to go for instant arousal is almost irresistible"Thomas Sutcliffe meant that the opening sequence of a film needs to really engage the audience and convince them to watch the whole thing. Therefore it has to be eye-catching and interesting so it's merely impossible to look away.
2) According to Director Jean Jacques Beineix, what are the risks of 'instant arousal'?
Jean Jacques Beineix said that one risk is that if you start strong, you have to ask your self, "what do i do next?" as you have already aroused the audience and you'll have to maintain that level throughout.
3) Explain why "a good beginning must make the audience feel that it doesn't know nearly enough yet, and at the same time make sure that it doesn't know too little"This is said because the beginning is the moment that the film comes to terms with its viewers and draws up the relationship between the two. In order to gain a good reception, the audience needs to feel that they have a reasonable amount of information of the film.
4) What does critic Stanley Kauffmann describe as the classic opening? Why does this work?
An establishing shot of New York City, from the East, then a close-up of a building and the camera would go up the building to a window. Then it would go in the window, passed the receptionist desk to the private office, and there sat the main character.
This 'classic opening' worked because it provided the audience with vital information such as where it was taking place, what the occupation of the main character was, and the organisation of the world.
5) Why is Kyle Coopers title sequence to the film Seven so effective?
He knew that his director wasn't after a gentle prelude, but a sequence that would tune the viewers to the right dissonant pitch. He wanted the opening credits to immediately convey the idea that the film was going to hit you on your head and almost prepare the audience for what they were about to see. It worked because it felt like it was already part of the movie. It told the story and introduced us to the incessant nature of the character.
6) What did Orson Welles want to achieve with his opening to the film A Touch of Evil? What did Universal Studios do to it? Why?
Orson Welles intended the opening scene to be seen without credits and title music, and wanted to plunge the audience into the story, without giving them time to prepare themselves. However, Universal were cautious and put a score underneath it and credits.
7) What is meant by "A Favourite Trick of Noir"? What is the trick?
Is when the beginning of a film is more like the ending which is known as "A Favourite Trick of Film Noir". Lots of great openings share this quality. They feel like a destination as much as a departure point and if not clear the first time round, the next time you watch it it would become clear.
8) How does the opening to the film The Shining create suspense?
Because the camera pursues the car like a predator, high up and behind. It never strays to what is conventionally spectacualr, but remains fixed on the tiny object. Everything tells us that these people are travelling in the wrong direction.
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