Interstellar- Cinematography

In the film ’Interstellar,’ the director, Christopher Nolan, uses visual effects to show some of the incredible landscapes that are in the film. Scoring them a Academy Award for Best Visual Effects. I will be discussing how Nolan and cinematographer Hoyte Van Hoytema, captured some places to convey an entirely new world and some interesting features whilst the characters are on Earth which makes the audience feel like they are in another world.

Interstellar opening scene

 

In the opening scene of the film, it is silent and all we see is a lot of dust falling and resting of different objects on a bookshelf. This is an interesting opening scene, because it already makes the viewer’s think about what is happening in this shot. If you watch it, there isn’t really much happening. Just the falling of dust, but Hoytema shot this so well that it has a sort of beauty to it that captures people’s attention.

Mann's Planet

In terms of the planets, Nolan said that he wanted a “harsh environment” to represent the other planets (YouTube: Variety 2014). Nolan used visual effects, “Special effects created in postproduction tough digital imaging” (Corrigan and White: 2012 p481). A few being Mann’s Planet and the Water Planet. Since Nolan wanted to use as little green screen as possible, they shot these scenes in Iceland and used visual effects to help enhance the feeling of realism to the viewers. It is a beautiful place that definitely had the harsh environment Nolan wanted. According to Hoytema, Iceland had good natural lighting for what they needed, so it was a perfect place to shoot (YouTube; Variety 2014). They shot the Water Planet in a lagoon that was the product of the melted ice from the glaciers. This was another beautiful setting that had a rough feel to it. Or though both these settings look visually beautiful, Hoytema shoots them in such a way that makes the audience feel like a cold, un-sustainable place to live in.  

We can see why Interstellar won the award, for the visual effects shown in this film are both incredibly beautiful and harsh. It makes us feel like these places are real, which increases the feeling of thrill and adventure.

Reference:

Variety. “Variety Artisans: Space Shots - Creating the Worlds of 'Interstellar'.” YouTube, published November 12, 2014. Accessed on April 21^st 2014, at https://www.youtube.com/watch?v=FqpupJ6w8M4

Corrigan T, and Patricia White. The Film Experience; An Introduction: Third Edition. Boston, New York: Bedford/St. Martin’s, 2012.

The Dead Lands- Props (Mau Rākau)

Mehe (Tūrei) displaying the use of patu and traditional clothing

In the film ‘The Dead Lands’ mau rākau, translated as  “to bear a weapon,” is a main aspect in the film. In this blog I will discuss the symbolism of some of the different weapons used in the film,  and the symbolism of the costumes of some of the characters.

As the film is set in the 16th century, the use of the ancient clothing and weaponry in this film is inevitable; and the clothing of each character is symbolic and representative of their social status and rank.

A Māori weapon is seen in almost every scene of the film. Whether it be a taiaha (a long handled wooden weapon), a patu (a paddle shaped short handled wooden, bone or greenstone weapon), or toki (an axe), a weapon is always seen or is being used. This film shows some of the true beauty of Maori culture and the ancient art of Māori weaponry.



The Warrior wearing Dog fur and using two different weapons

An example of the use of Māori weaponry is The Warrior (Lawrence Makoare).  He uses a range of weapons throughout the film, some of which are the toki, the patu and even the taiaha. We see him use the white patu multiple times in the film. In the very first scene of the film, he uses a toki in his left hand and a patu in the right hand. The use of the toki in this scene is symbolic of his former role within his tribe as a carver and builder of whare (houses).  His blood stained white patu not only symbolises his expertise in the art of close combat fighting, but this weapon turns from being a symbol of murder and fear at the beginning of the film, to one of pride and triumph at the end of the film when Hongi claims it in memory of his fighting friend and mentor before heading back to his village after his victory over Wirepa.

Barbara Darragh, the costume designer, displays each character in their own unique way in terms of the use of different garments and accessories.

As the chief of the local tribe from which Hongi originates, his father is one of the only charcters that wears a large feathered cloak. This is because he is the chief of this tribe and it shows his high social rank.  Following his death Hongi takes the cloak as a symbol of his own social rank, and also as a constant reminder of the task before him i.e to seek revenge against those that killed his father.

Wīrepa (Tukaha) and his men

When we see Wīrepa (Te Koha Tukaha) and his men for the first time on screen, we see that they are wearing flax woven maro, a formal apron like piece of clothing that ties around the waist. A maro is a “perhaps the most common and basic traditional Māori garment, and was worn by both men and women” (Te Ara: 2013). The only sinificance of Wīrepa and his mens clothing is that is dyed in a blue colour, apart from that, there is nothing significant about Wirepa’s clothing.

The topuni tauwhainga, or dog skin cloak, worn by The Warrior (Makoare) is symbolic of a chief of high rank, and also of a noble fighting warrior.  As the film progresses we see that The Warrior transforms from being portrayed as a murderous monster to both of these, that is, a chief of high rank and a noble fighting warrior. 

 

 

Referencing:

Awhina Tamarapa and Patricia Wallace. 'Māori clothing and adornment – kākahu Māori - Ngā taonga tuku iho – traditional Māori dress', Te Ara - the Encyclopedia of New Zealand, updated August 22nd 2013. Accessed on 22nd of April, at http://www.TeAra.govt.nz/en/photograph/40978/maro-waist-girdle

Corrigan T, and Patricia White. The Film Experience; An Introduction: Third Edition. Boston, New York: Bedford/St. Martin’s, 2012.

The Dead Lands- Acting Performances

The film ‘The Dead Lands’ provided a great opportunity for New Zealand actors and actresses to be seen on the big screen, although some of the actors have already had experience in other big New Zealand films such as The Lord of the Rings, Boy, and The Dark Horse.

The key aspect that will be discussed in this blog is the acting performances by two of the main actors in the film ‘The Dead Lands.’

Hongi, played by James Rolleston, is out for vengeance for the death of his people and most importantly his father. He seeks the help of a feared monster known as The Warrior (Lawrence Makoare), to kill Wīrepa (Te Koha Tukaha) and his men.

Learning a script in a differnt language would be difficult for anyone to do, and this was a challenge that some of the cast members had to face during the production of this film.

Makoare doing the Pukana, as The Warrior

One of those that had to learn Te Reo Māori was Lawrence Makoare, who acted as The Warrior. It was said by Tainui Stephens, the co-producer of the film, “His Darling tells me that every night Lawrence is up working hard on learning his script”. (YouTube; Waka Huia: 2014)

When watching the film you wouldn’t think that Makoare had to learn how to read and then later perform the Māori words he is speaking. He is one of those actors that will push themselves to give the best results in front of the camera. The Warrior is a feared monster and Makoare excelled in achieving this. His facial expressions, body stance, and the execution of the script brings his character to life on the screen.

Rolleston with director Toa Fraser

Moving on to talking about Hongi himself. James Rolleston was only 16 years old when the film was shot, but he played Hongi in such a mature way that it made viewers feel like he was a lot older, even though Hongi is the same age. When we first saw Hongi sneeking up behind Wīrepa and then when his life is in danger of being sacrificed for crimes he didn’t commit, Rolleston showed us the innocence and youth of Hongi. Rolleston played his role really well, and through his convincing performance as the storyline unfolds, we see that Hongi evloves into an intelligent young chief, appeasing the spirits of the ancestors, and following in the footsteps of his father to lead his people safely into the future.

The acting performances of both of these actors exudes ihi (power),wehi (awe), and mana (prestige) as they bring their characters to life on the screen in a way that makes us believe they could very well have lived, and died, in 16th century Aotearoa.

Referencing:

Corrigan T, and Patricia White. The Film Experience; An Introduction: Third Edition. Boston, New York: Bedford/St. Martin’s, 2012.

Wakahuiatv. “The Dead Lands- NZ Māori Feature film- Waka Huia Special.” YouTube, published October 25^th 2014. Accessed 17^th April 2015, at https://www.youtube.com/watch?v=MqaQ9b7VSOs

Interstellar- Hans Zimmer Music

Hans Zimmer is a German film composer and music producer. He is known widely for his film scores in The Pirates of the Caribbean, Gladiator, and The Dark Knight Trilogy. In this blog I will discuss the use of his music on the film Interstellar, and how Zimmer uses his music in this film to create a deeper emotional connection between the audience and the story.

In the film ‘Interstellar’, directed by Christopher Nolan, Zimmer takes the audience on an emotional roller coaster as the feelings created by the depth of the music impact on the viewers.

Orchestra set up in Temple Church, London & Hans Zimmer on Organ

During pre-production and the creation of the musical score, Nolan only gave Zimmer a small part of the dialogue and one day to compose a score for the film.  Without knowing much about it at all, Zimmer came up with what would become the musical score for the film.  This is unusual as Timothy Corrigan and Patricia White say in ‘The Film Experience,’ that the score of a film is related directly to the story of the film (Corrigan and White: 2012 p198). Being oblivious to what the film was about and without knowledge of the main details, Zimmer was free to use creative licence and explore his own feelings. This gave the music a more human feel, which was perfect for the film as it is about the survival of the human race.  An example of the link between the music and the human theme is with the use of organs, as they can be used to represent the human breath. This is supported by Nolan who said, “You hear a human presence in every sound,” when describing the human qualities of the organ (YouTube; 2014)

Nolan and Zimmer discussing the score

Zimmer utilised the organ as an added element in his music, and it was used throughout most of the Interstellar soundtrack as a recurring element in the musical score which connected the film from the beginning to the end.  

 As said by Corrigan and White, “Music is a crucial element in the film experience… it provides rhythm and deepens emotional response” (Corrigan and White: 2012 p195).  This quote describes Zimmer’s music perfectly as it connects the audience to the feelings and the emotions of the characters in the film, and to the story that is being told.

Cooper (McConaughey) and Murph (Foy)

The music contributes to the different waves of emotions as the tempo and rhythm of the music change in certain parts of the film. For example, when Cooper, the lead male character, tries to leave his family on good terms, his daughter resents him for leaving her. During this scene the music, which is called ‘Stay’, is very subtle and quiet at first. The rhythm is gentle and light, representing the young innocence Copper is leaving behind on Earth, which is his daughter. Then as the realisation that he will be gone for longer than expected sets in, the music starts to build in tempo, creating a sense of urgency. As the violins start, a feeling of desperation is created and this is felt by the viewers. This desperation is for both Copper and his daughter, leaving the audience with sympathetic and heartrending feelings for both Cooper and his daughter. In comparison, the score ‘No Time for Caution’ is more on edge and harsher than ‘Stay’.  The score is used during the epic docking scene to create a feeling of suspense when they have to dock the Lander ship on to a spinning Endurance spaceship. The beginning of this part of the musical score is likened to the ticking of a clock, as time is an important theme in this film.  It then evolves into a harsh and intense musical background. This definitely sets the tone and links the intense feelings created in this scene, to the viewers who are on the edge of their seats whilst watching.

These two underscoring music pieces are very different in style and function, and engender different emotions in the viewers during those particular scenes, further strengthening the emotional connection between the audience and the storyline of the film.

 

 

 

Referencing:

‘Interstellar Music Featurette - Hans Zimmer's score.’ YouTube, published November 26^th 2014. Accessed on 22^nd of April at https://www.youtube.com/watch?v=0AYSrRtfxUo

Corrigan T, and Patricia White. "The Film Experience; An Introduction: Third Edition." Boston, New York: Bedford/St. Martin’s, 2012.

Photos:

Kaye, Don. "Hans Zimmer Talks About Scoring Interstellar, and Why Batman Needs a New Theme." Published by Den of Geeks, 21st November 2014, Accssed 22nd of April at http://www.denofgeek.us/movies/hans-zimmer/241533/hans-zimmer-talks-about-scoring-interstellar-and-why-batman-needs-a-new-theme