The film's plot involves a military team who's been tasked with the job to investigate why an out-of-control supercomputer has sealed hundreds of scientists in their workplace, an underground lab facility. They soon discover that the workers have mutated into flesh-eating creatures after a laboratory accident.
The Lighting - and everything about this film - is sterile and very much in the vein of science fiction, bordering dysptopian due to the film orientating about the viral weapons that a major corporation has engineered. Though it's not a post-apocalyptic film, their take on the zombie genre is something that I wish to draw inspiration from. All scenes are clean cut, and the colours pop.
The titles of the film are written in a sci-fi font, and even the production company's sting fits in with the film. In the first part of the introduction, graphics are shown on-screen of a 3d-map or simple technical shapes as the proudcers and the directors are given credit.
Costumes used involve a hazmat suit and a leather jacket. The main focus of the film isn't on any particular character, the narrator is merely telling a story - so the air of mystery is immediately planted due to the fact that the viewer cannot se any of the actor's faces.
The narrator has a clean, deep baritoned, American accent - and as the film progresses, futuristic ambience sounds are used. As well as this, Marilyn has created the main theme for this opening - sci-fi jingles and humming, tense sound effects have been mixed with distorted sounds which the zombies make throughout the film. This is all to a simple melody that coincides with the beat of a drum and builds up to creat tension. 28 days later have created a similar effect with John Murphy's "In the House, in a heartbeat."
No comments:
Post a Comment