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Google docs version here!

Group Members : Tianna Mcnair and Kobe Nabried      

Our group decided to convert was Get Out into a buddy comedy. The change in genre challenges the ability to include humor through thought-provoking racial issues. We sought out three directors: Phil Lord and Chris Miller known for 21 & 22 Jump Street and Tim Story known for the film Ride Along. Before commencing the project we analyzed the tropes used in buddy comedies through the lenses of the two films mentioned above. A commonality is that comedies like these usually include a “bromance.” The “close nonsexual relationship between two men” is strengthened throughout the movie. Therefore the trailer we created only selects scenes from that film that include Chris and Rod. Rod is the only person that Chris calls in the film denoting that Rod is viewed as the friend that he tells everything to. Although they were already friends before Chris decides to meet Rose’s parents, their bond intensifies as Chris starts to uncover the truth about the Armitage family.

Another trope seen in buddy comedies is the desire to seek adventure. In Get Out Rose insisted on Chris meeting her family even though they weren’t dating for a long period of time. The introduction to the trailer shows the audience that the characters are headed to meet Rose’s parents. With Rod’s dialogue in the background the racial tension begins to build itself, even when it is used in a joking form. The use of seeking an adventure is demonstrated clearly in both the Jump Street movie series and Ride Along, where a task is assigned and although it is very serious, the process of completion is fun. In Phil Lord’s How I Met Your Mother, the television series is based on recounting to his children about how he and their mother met. This sets up a flow in the direction that the show should go. Similarly, in Get Out we known that race will be an issue within the movie and we know that Chris needs to get out of the situation, creating a flow in the movie. This gets the audience to now see how the accumulation of troubling events can cause Chris to “get out.”

The musical elements included in the trailer are used to introduce punch lines or stick to one perspective. When Chris initially hangs up the phone on Rod, the scratching of discs occurs. It goes from you hearing the conversation between Chris and Rod, to a solo scene of Rod. This demonstrates that Chris hung up the phone because of the scene ending on Rod and him not hearing a response on the other side. The next example is shown when Rod approaches the police about the suspicious events occurring in the Armitage household. The music hits a complete stop before the cops begin to laugh at the unimaginable claims that were made.

William Flenner

Elijah Afrifa

Sam Gualtieri

Link to video

https://docs.google.com/a/scienceleadership.org/document/d/1zmvBFs-MqrbRna92iFwy7bncYr6Pup_Fvuqv96_LSBE/edit?usp=sharing

Frame 3

You wanna know my thing?

If I really have it solid for a girl,

I'll ride by her house on my bike.

I'll do it, like, a hundred times in a day.

It's really... it's intense.

Frame 4
Do you ever park?

I'm kind of a drive-by kind of guy.

Do you want a drink?

Frame 5

- Yeah!

- Yeah.

- Coke.

- Coke? OK.

Frame 7

Give me your address.

I'll put you on my round.

OK, you're gonna have to help me out here.

You know, some day that girl's gonna realise just what she missed.



  

                  

Come on, don't stop! Gimme more!
               
Frame 8
- Hi!

- Hi.

- Prince Charming wimp out?

- No. No, he's at the bar.

Frame 9
Duckie.                   

He's sulking.              

He's not gonna ride his bike past your house any more.                   

Duckie, you're being a real jerk.

How'd he get in here, anyway?

- I said he was my kid.

- How come you're here?                

I've been trying to figure that out all night.

- Hi.

- There you go.                  

Frame 10
- You met lona, didn't you?

- Not formally. Hi. Blane.                

And that's Duckie Dale over there behind the glasses.

- Hi, Duckie.

- Phillip F Dale to you, scumwad.
                  
So where have you guys been?

- A friend of mine was having a party.

Frame 11
- How adorable!            

- Yeah. It was a little intense.

- You had an intense party?

Frame 12
- No, it was a friend of mine's, I said.

- Duckie, shut up.
                  
- What's the problem?

- This is a classic piece of work here.

- Duckie, please!

- Phil.

Phil, I think you're making Andie uncomfortable. Just knock it off.



  

                  
Frame 13
I devoted my life to the girl and he comes along and thinks he knows her.

You should call David Letterman. He'd book you in a minute.
                  
Frame 14
Phil, would you like us to leave?

Yes, very perceptive.

Come on.

Look at the manners on this guy!

This was a treat!

You're a great couple of kids, really.

I can't believe I actually felt bad

for you tonight, retarded little dwarf!

See you.

Nice meeting you. See ya later.

- Sorry.

- No problem.

- No problem.

- Asshole.

Blow me, buttwad. From you, I'd take it as a compliment.
                  
Frame 15
Andie! Yo!             

You've been replaced.

I'm sorry.

Frame 16

Well, what now?

I gotta get up early. Why don't we just forget it?

What, home?

- Hey, you wanna go to my house?

- No, thanks.

- You wanna eat?

- No.

What do you wanna do? Anything.                  

Why don't you just drop me off at Trax...

- Trax?

- It's real close to home.                

- It's late. I'll just drop you home.

- I have something I have to do there.                   

Now? It's late.

You wanna go home, I'll drop you home.

- I don't want you to take me home.

- OK, let's go out. Anything you want.

- I don't wanna go out.

- And you don't wanna go home.

- What do you wanna do?

- I don't want you to take me home.

Frame 17
I'm missing something. I don't understand… Wait a minute. Don't walk away.

- Don't! I just don't want… Don't you understand?

- No, I don't.

Frame 18
Listen to me.

I don't want you to take me home.

OK. Why? What is the problem?

Because I don't want you to see where I live, OK?

- What?

Frame 20
- I'm sorry. Forget it.

Jesus Christ.

Pretty in Pink & Noir

Our conversion takes a scene from the glamorous 80’s classic, Pretty in Pink, and transforms it into a film noir style scene. We used the scene where Andie takes Blane to the club that she and her friends go to. The set of the club will be changed to include older wood furniture, brown leather couches, chandeliers. Basically, the color scheme of the set will change from blue, black, and pink to brown, yellow, and red tones to give it more of the 1940’s design appeal that reminds us of film noir. However, it should not be as Hollywood-esque or classy as other sets in film noir movies because the club represents Andie’s lower income class in contrast to Blane’s high-class nature. The color scheme of the lighting will also change from blues pinks and reds to normal white and yellow toned light. The bar will be filled with smoke to make it the classic “smokey night club” of noir. The costumes of the actors and actresses will be dressed in 1940’s dresses and suits. Andie will of course still be wearing pink and Iona will still be wearing a bold dress and a similar hairstyle. Blane will wear a full suit and fedora with his hair slicked back. Blane will play more of the main character/detective role in a film noir and have Andie as his femme fatale. To show the class difference between himself and Blane, Duckie will be wearing a casual 1940’s men’s dress shirt and high waisted pants.

As for the cinematography of the scene, the scene is to be shot in black and white as most noir films are. It will open with the band on stage in suits playing the main title from Body Heat by John Barry to replace the rock music with noir jazz for ambiance. The club consists of low-key lighting and uses deep focus on the setting which are both staples in film noir. Duckie’s dialect throughout the scene will change so that he talks slower, and so that he is less whiny and dramatic and more nervous until Andie and Blane arrive and he sounds more confident. When Blane and Andie enter the bar the light from the open door will form harsher silhouettes than in the original to utilize harsh shadows as in film noirs. When Andie arrives at the table they will all be slightly side lit from the back of the shot to use shadows and back light that are popular in film noir. We will also be cutting the section of the scene where Blane bumps into a man at the bar since it does not seem fitting in the noir style and is not necessary. The camera will also move a lot less in this scene to slow down the pacing. The camera will only move for a couple close ups on Andie’s reactions and switching from medium shots of Andie and Blane to Duckie and Iona. Since Duckie will be talking slower and with more pauses, his insults to Blane and Andie during their argument become snappy comebacks. Everyone except for Andie will also be smoking during the scene to add the classic mystery of film noir. When Andie and Blane leave the bar and go outside, it is raining and they are dark silhouettes which are interrupted by the bright headlights of passing cars which embodies the juxtaposition of light used in noir. When they talk, Andie and Blane will speak slower and won’t raise their voices so the conversation seems less frantic and more serious. The scene will also use a two shot and softer lit close-ups of Andy that focus on her eyes to make them glisten like a femme fatale. These changes in the setting and cinematography serve to fit the calm, mysterious, classy, and slow paced themes of film noir that distinguish from all other genres of film.