Treatment

My film will focus is influenced by neo-noir films and during my key frames a script I will be attempting to create characters which represent or are similar to characters from other neo-noir films who are too complex to simply be placed into a character archetype such as Propps character types. Instead, Goffman's character theory which gives a broader range of character types than Propps. The character John has been influenced by the character John Hartigan from Sin City who is also a detective. The character of Sam has been influenced by Bob from Sin City that betrays Hartigan in the story The Yellow Bastard. The character of Sarah was also influenced by the femme fetale's of Sin City. e.g. Miho, Gail and Wendy.

My film begins with a medium close up shot featuring John in his car. After driving for a bit he parks his care in a dingy car park. In reference to Goffman's character theory we know he is the protagonist due to the cinematography being focused around him. We see John open a letter in his hand that states 'Letter of Resignation. I will use a POV shot focusing on the letter, this is similar to the opening sequence of Se7en, featuring John Doe preparing to begin his 'masterpiece'.  John steps out of the car and lights a cigarette, which features a cut shot of John's hands and part of his face as he lights it. He inhales and exhales the smoke. This features a medium close up shot from slightly the side using the technique of cinema veritay to give a observers view as we do not know much of the character as of yet which is similar to Sin City during the first story the customer is always right. The final shot of this sequence features an over the shoulder shot of John with the letter torn apart as he burns it with his lighter This is similar to Fincher's use of camera shots in Zodiac, focusing on the watch during the investigation.









The film then cuts to a scene late at night with John looking at a picture of himself, and his wife, with a shot from behind him to show his distress due to the loss of his job, trying to find comfort by reminiscing old memories. Which is a technique in neo-noir films to show either flashbacks or scenes hinting towards information that is key to learning about the character, or their past. Based on a spectators extra-textual experiences they may also show allegiance to John if they have suffered similarly with the loss of a loved one. This is like how in The Dark Knight a flashback is used to show Bruce Wayne's relationship with Commissioner Gordon. The next shot zooms out and John moves to photo out of sight as he picks up a beer to show how ashamed he is of turning to alcoholism to resolve his problems. In reference to Propps character types this could cause him to be viewed as a false hero due to the self-destructive past that he seems to be beginning to set himself down. The next shot focuses on John's phone as it lights up and he gets a call from a private number. The next shot is a close up on John's face to show how he is feeling, reluctantly choosing to work for Sam who is offering him a job. At this point in reference to Goffman's character theory Sam may be considered as a bit player. Also, in reference to Propp, he may be considered the dispatcher for John, sending him on his path for redemption. This is similar to Fight Club in terms of the close up shot on the Narrator on the phone will be similar to my shot. The scene ends with this shot.

The next few scenes shows John working for Sam, violently assaulting a government official who hasn't returned his favours to the people who put them in power. This shot shows three different characters who John intimidates to 'return his favours'. I will use an observation shot, using cinema veritay again. In reference to Propp at this point in the film he may be considered either a villain or false hero. This is similar to the interrogation scene in the Dark Knight between Batman and the Joker, as well as when Marv is tortured by Wendy in Sin City.

The film then cuts to a short scene. This scene introduces Sarah, in reference to Goffman she may be considered a bit player due to the bit players character sharing similarities to that of a femme fetale, which is the kind of character I would like Sarah to be, a mixture between Miho and Wendy from Sin City is what I would like to have in my key frames. The first shot is a point of view shot from John, looking at Sarah through the Male Gaze, similar to how women are portrayed in Sin City. During this scene they get very close and the scene becomes quite intimate to each other during their conversation where they both question what Sam's 'benefactors' real agenda is. The next shot shows John and Sarah raiding Sam's office, looking for any information on the people Sam is working for as the audience learns more about Sam his character will change from a bit player to a deuteragonist. Again, I will be using an observing shot, focusing on the door of Sam's office, to present the risks with this matter because someone could walk in to his office at any moment and if they are caught, they are dead. The last shot of this scene shows that some of the people who John had assaulted had files here, in their younger years they used to work for Sam's benefactors and they put them got them into power. When the people put in the power would no longer support the benefactors they hired people to threaten them into compliance.

As the two make this realisation and are about to leave, because they both know they cannot work for Sam anymore as it is against their morals. This represents the completion of the 'heroes journey' in reference to Propp, portraying John as a hero. The next shot is an observation shot which shows another conversation between John and Sarah as they become very intimate again and both decide to go on the run and disappear. Sam then arrives, this is revealed through a POV shot, focusing on Sam smirking as he aims his gun at Sarah. the next shot shows John shooting her. In reference to Propp, this would turn Sarah in to a damsel he must be rescued by the hero (John). A fight between John and Sam ensues which features a shot aimed towards Sam knocking John to the floor by smacking him with his gun, followed by a shot of John looking up at Sam as Sam aims his gun at John. The next shot shows Sarah shooting Sam in the neck as she lays on the floor. The final shot of the film features John with the injured and unconscious Sarah in his arms. In reference to Propp this represents binary opposition with the hero (John) triumphing over the villain (Sam). This is similar to the shot of Hartigan and Nancy in Sin City near the end of the story The Yellow Bastard where he has killed The Yellow Bastard. It is also similar to the scene where Marv realizes that Goldie is dead.