Running Head: DRACULA

“I Never Drink Wine” C. S Intro to Film

“I Never Drink Wine”, Bram Stoker’s Dracula (1992) Director, France Ford Coppola~ A Director according to Goodykoontz in Film: From Watching to Seeing, by definition is “the person with the ultimate responsibility for the overall film.” While this may not sound all that difficult given the fact that there are many, many crew members involved in the making of a film and all have there own unique, various job descriptions to fill, but in fact the director is the most crucial person involved with the production of a film. “The director interprets script into personal vision and decides overall "look" with the production designer and cinematographer; directs actors and the action while shooting.” It is clear that the Director is the driving creative force behind a film's production, and acts as the crucial link between the production, technical and all the creative teams. In order to creatively translate the film's written script into actual images and sounds on the screen the director must visualize and define the style and structure of the film, then act as both a storyteller and team leader to bring this vision to reality. Not only must the director bring the film to life he/she will play a variety of roles from the start to the release of the film including but not limited to; casting, script editing, shot composition, shot selection and editing, as well as be aware of budget constraints. Ultimately being a Director requires a great amount of creative vision, dedication and commitment with the added, horrendous, responsibility for the film's artistic and commercial success upon the films release date. Production Designer, Thomas Sanders~ Production Designers begin their work in the very early stages of pre-production through the final photography and are usually requested by a Director or Producer before a screenplay is even considered viable for producing. Production Designers are the major heads of department on film crews. They are responsible for the entire Art Department and are very crucial in helping the Director to achieve the film's visual requirements, and by offer different “do able” ways of making films within budget and within the release date timing. Everything from deciding where to shoot, or what setting to use, or build (within the Directors visions), to overseeing the Art Directors, Photography Directors and the Technical Directors, falls upon the Production Designers shoulders.

Within the Art Department, Production Designers check and double check every technical aspect with the Director before shooting begins on any particular scene. Art Director, Andrew Prechet ~ Art Directors seem to be one step below the Production Designers. Art Directors act as project managers for the entire Art Department. They help to bring about the Productions Designers overall vision for the films locations and sets, including the Mise en Scene. The Mise en Scene are the “physical things we see in a scene, including setting, props, costumes, actors, makeup, lighting, colors–anything that would be on the set before the camera is even brought in.” They are also responsible for the scheduling (detailing the precise filming order of scenes) and keeping the film within its budget, by trying to find less costly solutions to the many creative problems that could arise on a set. As if these weren’t enough responsibilities, it also falls upon the Art Directors to set up and dismantle all the sets used, before and after filming, and finally making sure that any of the outstanding department bills are paid after shooting is complete. Art Directors eventually give the unique visual qualities to the film. Now that the main role description of the Director, Production Designer and the Art Director have been outlined it is possible to see how all the artist must collaboratively work together in order to make the Directors vision of the film come alive. When it comes right down to it the Mise en Scene is responsible for setting the tone for the film. By engaging certain techniques the artists are able to guide the viewers into seeing their ultimate vision for that particular film. Everything from lighting and setting, to costume, hairstyle and make-up viewers are given a glimpse into some of the technical aspects required for making a successful film. In the 1992 film, Bram Stoker’s Dracula, Director Francis Ford Coppola (IMDP) was able to successfully portray his vision of the novel written by Bram Stoker. The setting is in 1897; London, England where a young English lawyer named Jonathan Harker (Keanu Reeves) is given the job of assisting the wealthy foreigner, Count Dracula (Gary Oldman) in his acquisition of property in London. Harker then travels by steam train to the Count’s castle in the mountains of Transylvania in Eastern Europe where he becomes

Count Dracula’s prisoner until much later in the film when he is able to escape. When Harker first enters the castle by the Counts invitation, Harker hesitantly steps over the thresh hold to what will seemingly be his implied demise. The artists use of low-key lighting and desaturation of color in the scene titled “I Never Drink Wine” is clearly three-point lighting to focus your attention on Harker and the Count instead of the dimly lit, ancient castle, cold castle. This, along with the Counts Shadow that glides over the walls evokes a supernatural, evil, spooky, ominous mood, giving an overall helplessness to Harker’s wellbeing in this scene. The shadowy, damp gloominess of the castle could make one feel a little sorry for the Count. The fact that he lives in those deplorable conditions is surely enough to make a person lonely and angry over the hundreds of years that he has lived there. The Count has been living in the castle alone since 1492 and the costumes are very time-dated to this period opposed to Harker’s 1897 costuming of a more modern London, England time period. The Count is dressed in what appears to be a long gown with an elaborate robe over the top giving the impression that he is floating and not walking. This is one way that the costume itself reflects a magical, eerie element of the films plot. It reminds us of Dracula’s smooth/languid movements (despite the fact that he could move swiftly if need be) that have been portrayed in movies and books over the years. Since the Count’s robes are so different than Harker’s proper English suit it confirms that the Count is extremely old or ancient, and has come from a wealthy family line. The Counts make-up, which is ashen and grey with many wrinkles, gives him a ghostly death appearance and is characteristic of Dracula himself, as he has been portrayed in the past. Along with the Counts elaborate, ancient robes, his bizarre hairstyle gives him an eclectic sense of royalty. Which in a sense he was. He was from the Order of the Dracule, which he is apparently very proud of. (The count pulls a sword on Harker telling him that his heritage is of “no laughing matter”). Harker has minimal make-up and his hairstyle is neat and short, reflective of a innocent, young, upcoming businessman for the time. The use of the Mise en Scene in this short 2-minute scene, gives it that dreamlike sense of impending doom, which works very harmoniously with all the other elements; the ancient dark, damp castle (water dripping noises in the back ground), eerie music playing, the Counts somewhat choppy speech about “not drinking wine”. They all seem to be congruent with what could perceivably be Coppola’s intended vision for the film. Bram Stoker’s Dracula is an excellent film and will always conceivably be a classic, horror favorite for generations to come.

References

Goodykoontz, B., & Jacobs, C. P. (2011). Film: From Watching to Seeing, San Diego, CA: Bridgepoint Education, Inc. IMDB, (1992). Bram Stoker’s Dracula, Retrieved; April 22, 2013, from; http://www.imdb.com/title/tt0103874/combined Movieclips Inc. (2013), “I Never Drink Wine”, Bram Stokers Dracula, Retrieved April 22, 2013, from, http://movieclips.com/fH3K-bram-stokers-dracula-movie-i-never-drink-wine/