Seven
David Fincher (1995)
I will be using all of this extract to analyse as an opening sequence to a thriller. I think that this is a good example as it contains a variety of editing, camera angles and interesting sounds which all combine to create an opening sequence which informs the audience of the type of film they are about to watch. The editing also comes across as psychedelic and along with the sound and 'weird' camera angles, the audience receive a glimpse into the 'psycho' character which Morgan Freeman portrays.
Camera
Aerial shots are used in this extract to almost put the audience into the point-of-view of Freeman's character as he would be looking down on the piece of paper himself, writing and blocking out words. This however, also puts the audience in a position to judge his character, to be able to get a glimpse into his personal view.
The audience can only infer that he is an observant person, able to see patterns and clues emerge like ciphers, perhaps the reason for him to block out certain words, as blocking out the insignificant often allows the significant to emerge. This concept can also be applied to the context of the film; investigation work often involves ‘red herrings’ and unimportant information which are avoided by the development of a skill which allows one to see past this information, gained only through experience, therefore, it is implied that Freeman’s character is experienced and is able to deduct 'bad' information to yield results.
Alternatively, the technique of blocking out words from an inconspicuous article to reveal certain hidden messages was common amongst criminals exchanging notes, contradicting the audience’s original idea that Freeman’s character is a figurehead of law.
Shallow focus is also often used in this opening sequence to produce an interesting effect of disorientation in the audience's view. Differentiating the shapes in the background from the subject at the front becomes difficult, especially in this shot as the colours used are very similar. This however, also allows the audience to focus on a specific object, this one being a form of a loosely bound journal which is of clear significance as it's something Freeman's character uses to record his findings to do with his investigation work.
Lastly, a few interesting shots are produced by extreme close-ups of Freeman's fingers threading a binding needle for his journal. This act seems to be of importance to this scene because of how often it is referred back to. There are up to four times to when it is cross-cut back and forth from and the suggestion for this being is simply the common use of needles: Sewing and fixing articles of clothing. If one can take this in a metaphorical sense, it is implied by fixing the binding in his journal, Freeman's character is thus fixing the situation at hand (quite literally); he's pulling the information together, stitching it up to form a bigger picture. This could quite possibly match the character's nature in the sense that he is an investigator and he is out to pull information together, perhaps not to reverse what was done, but fix a fair punishment for the criminal.
Sound
At the beginning of this extract, there is a storm developing which is taken from the previous scene before the opening credits are introduced. The storm produces thunder and as soon as a clap sounds, the sequence is set off abruptly like a ticking timer. This comparison seems to play a significance because of Freeman's role being an investigator and working under pressure to make connections before another crime may be committed. The thunder and introduction to the establishing shot is also quite shocking and sets up the whole idea of a disturbing experience to the audience with the violence and spasms in which the shots are introduced along with the jittery handwriting and scribbles overlaid on the shots.
In addition, sounds I can only compare to a worn out electrical circuit, typically heard in run down parking lots and petrol stations, are inserted into sections of the soundtrack in a seemingly random order which provokes a sense of unease in the audience. This sense is further developed to utter confusion when other sounds such as a rewound tape or scratching of a record are heard, along with what can be described as computer generated tones in once again, very random places, yet repetitive and maintaining a sense of rhythm. This produces a very psychedelic experience and perhaps reflects Freeman's character in a way which is seemingly complicated and confusing, but under the surface, there is a sense of repetition a routine which he applies himself to.
Editing
The editing in this extracts used effectively to draw connotations of instability. Firstly, images flash onto the screen in white which adds to the idea that the opening sequence should be setting up the audience to a shocking experience. The sudden 'stills' which flash on and off such as the one of the hands are often covered by shadows and movement which is a constant reminder that there is someone looming over the work, studying it and investigating it. This sudden editing reflects the use of the camera, shots being varied in light, focus and colour.
The idea of the investigation taking place (which can only be assumed by the audience) is further strengthened by the jittery editing of the text's strange fonts and handwritings. There is an implication that whatever Freeman is writing, is desired to be kept a secret by the fact that the handwriting varies, a technique also used to avoid connections being made between the person writing different articles. Along with the text, there are also a series of black and white lines, almost gaps in the picture which is perhaps the effect which this opening sequence was intending to produce. White spaces often occur in film photography where the solution in which film is developed has not reached certain areas thoroughly, or there has been a light leak in certain areas of the shot. This is interesting because film photography (popular in the 70-90s, cheap, disposable cameras becoming more and more abundent) seems to play a significant role in the extract as it is the form used to record images, the negatives of which we later see Freeman stick into his journal, corresponding to the appropriate crime or part of research he is looking at.
Lastly, cross-cutting seems to be a popular way of producing the feeling of instability in this opening sequences between Freeman pulling the needle from his finger and him turning the pages. The audience is forced to make connections between the two concepts even though it may seem like there is none. The cross cut which I am explaining occurs between 1:35 and 1:40 minutes, so a five second window in which this quick edit is produced, is obviously going to cause some stress on the eye and irritate the reason behind putting these two shots together. Perhaps this also helps build a bigger picture about Freeman's personality as it could be argued that Freeman's character is skilled in his trade and is able to make connections between certain aspects in a criminal investigation which other people may not be able to ue to the appearnence of the two aspects seeming insignificant.
Mise en Scene
Interestingly put together items and lighting are used to play with the fantasy of the audience. A red filter is used in some shots, like the one on the left, to produce the effect of a strip of film in development or in the negative. This also reflects the use of negatives in this extract as there are frequent shots of Freeman placing negatives in his journal. It is perhaps done to further confuse the audience's point of perspective as well as strengthening the idea that Freeman is performing investigation work which involves photographic evidence.
Lighting is also used to help cast shadows and hazy silhouettes behind a full page of writing of the journal. An interesting point is that in America (as do most other European countries), they use a system of writing which involves reading from left to right and top to bottom, however, the direction which the page is turned would suggest that Freeman's character does not conform to this rule, contradicting the idea that the character is a conformist and follows rules, perhaps even set by the law. Alternatively, this may have been done to further strengthen the idea that this character desires to remain cryptic so the wrong direction of writing, along with the confusing handwriting is likely to confuse the reader. This secretive life which Freeman's character seems to portray, is rather concerning especially because he is a 'man of the law' and should have nothing to hide, however, it could just symbolise his personality, being rather reserved.
The character's costume also plays a part in portraying a psychotic personality, especially through the bandages on his fingertips which are a constant reminder of the act he performed at the beginning of this sequence; the removal of his finger print, again to maintain a secret identity. They can also be an emblem of constant damage, that the reason behind the constant reminder of his seemingly self-harming act, suggests that the character heals slowly, perhaps metaphorical for a deeper meaning into his personal life.
Order of Credits
New Line Cinema presents
An Arnold Kopelson production
A film by David Fincher
Brad Pitt
Morgan Freeman
Se7en
Gwyneth Paltrow
Richard Roundtree
R. Lee Ermey
John C. McGirdey
Julie Araskog/ Mark Boone Junior
John Cassini/ Reginald E. Cathey/ Peter Crombie
Hawthorne James/ Michael Massee/ Leland Orser
Richard Portnow/ Richard Schiff/ Pamola Tyson
Casting by Billy Hopkins, Suzanne Smith/ Kerry Borden
Music by Howard Shore
Costumes designed by Michael Kaplan
Edited by Richard Francis-Bruce
Production designed by Arthur Max
Director of photography Darivs Khondji
Co-Producers Stephen Brown/ Nana Greenwald/ Sanford Panitch
Co-Executive producers Lynn Harris/ Richard Saperstein
Executive Producers Gianni Nunmari/ Dan Kolsrud/ Anne Kapelson
Written by Andrew Kevin Walker
Produced by Arnold Kapelson/ Phyllis Carlyle
Directed by David Fincher
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