Inspirations and Influences

So, my aim is to make a drama/thriller which adheres to the sub-genre of crime. This is still a very broad field. I thought that now would be a good opportunity to look into my own personal favourites and acknowledge which films/television shows fit into the criteria above. 

My creative vision will be substantially influenced by the following films and television shows, quite simply because they are the peak of cinematic mastery. They are, in my opinion, some of the perfect thrillers and dramas, or a perfect combination of the two. I hope to produce something original yet equally evocative, taking inspiration from these narratives. I do acknowledge that in a television show a lot of the emotional engagement is constructed over multiple seasons, which is why I have tried to select some standout scenes which are superb in their own right, and don't rely too much on context or a long continuation of drama. 

BREAKING BAD

Simply put, Breaking Bad has set the bar for combining consistent suspense and powerful drama. With a small cast and simple premise, it relies on the psychology of the characters to propel the narrative. Such sequences like Jesse's speech in 'Problem Dog', Hank's face off in 'One Minute' and 'Ozymandias', or Walt's cancer speech in 'Gray Matter' could function as short films in themselves, and it is scenes like these which inspire me to produce something with a profound, lasting impact. The dialogue and cinematography give it a very memorable style, and the suspense is often established through its patience.

THE DROP

The Drop portrays a gritty, atmospheric world of crime at a local level. The quiet urban setting and choice of locations capture the poetic eeriness of Brooklyn and the diminishing legacy of a gangster. The juxtapositions of the two lead characters represent a modern and outdated ideology which are used to emphasise the film's emotional input. Again, tension is established through the undertones of the film and like Breaking Bad, prefers to be patient in the pay off. It is a slow and quiet gangster film that never seeks to explore more than the contrastive perspectives of the lead characters, and thrives on implementing the gangster story as almost a subplot, not in the forefront of the narrative. So although the narrative is very much a crime thriller, the story is told from a more dramatic perspective. 

SONS OF ANARCHY

Sons Of Anarchy is a TV show that explores crime at an emotional level. Some scenes, like Jax following Abel and his adopted parents in 'Bainne', Jax hearing Juice's confession in 'Suits of Woe', and the final ride in 'Papa's Goods' are standalone scenes which provide emotional catharsis. When balanced with the extremity of violence it depicts, the series makes for a reflective and often controversial analysis on the life and legacy of criminals. I used this for lots of inspiration in my music magazine last year, and I think that it holds even more value to this year's coursework. It is very well written and a mature examination of inner conflict and how this leaks into external conflict. 

OUT OF THE FURNACE

Out of the Furnace is set against the backdrop of industrialisation in urban America. The locality of the narrative is like The Drop because it focuses on a distinct setting and creates compelling characters around it, linking them to their situation with a foreboding sense of inescapable confinement. The plot follows two brothers, one who lives contently working in a steel mill, the other is an unhinged soldier who spends his days bare knuckle boxing in the criminal underworld. The overarching theme of decay, both in terms of economy and humanity, gives the film a double meaning and depicts the characters as products of their society. Emotion and suspense in the film is subtle, slow-paced but confidently constructed. 

HELL OR HIGH WATER

Rather oddly,  Hell or High Water follows a similar format to Out of the Furnace, focusing on the lives of two brothers and their struggles in a decaying Western community. Like Out of the Furnace, it functions better as a drama, but uses the sub-genre of thriller to convey the tension and personal stakes. The narrative is sufficiently slow paced,  complementing the theme of being gradually forgotten about. There is a poetic nature to this film, more so than in the rest, that leaves a profound effect on the viewer as they come to terms with the story of two men who uphold their beliefs. Hell or High Water never demands attention or expresses its themes with bluntness, rather it opts for more of a silence which speaks volumes in itself. 

FRIDAY NIGHT LIGHTS

Whether it is subconsciously intentional I don't know, but a lot of my favourite dramas and thrillers, in fact all bar The Drop, take place in rural America. Friday Night Lights is perhaps the most uplifting of all my influences, and is definitely a drama, not a thriller. It is a TV show which delves into adolescence, adulthood, marriage, occupation, young love and friendship, grounded around a high school American Football team. Sometimes it may verge on being cheesy or cliche, but the coach's speeches, both on and off the football field, are motivational and emotionally engaging. It provides a very realistic depiction of modern life, from a familial perspective and a teenage perspective. The reason it has made this list is due to its ability to evoke lots of emotion without ever appearing exaggerated or forced. Everything taking place is believable. 

Different Stories, Recurring Traits?

In summary, there seems to be a recurring trend between all of my examples. First and foremost, there is a reliance on a uniquely individual setting. Be it the town of Charming in Sons of Anarchy or the town of Dillon, Texas in Friday Night Lights, all of these choices thrive on using the setting as a place to contain the narrative as well as a place we as the audience become familiar with. Furthermore, in all of them the protagonists have an antiauthoritarian relationship with some form of authority. Breaking Bad, Sons of Anarchy, The Drop, Hell or High Water and Out of the Furnace all throw their characters into situations where they must enforce there own brand of justice, often breaking the law and extending into vigilantism. Even in Friday Night Lights, the protagonist Coach Taylor must often undergo a moral conflict between doing what he is told, and doing what is right, putting him at odds with other schools and his superiors. 
Similarly regarding the protagonists, they are all established as people to be sympathised with, even though sometimes their roles blur the lines between hero and antihero. This has to happen, otherwise who would watch something where the main character is completely despicable and not compelling in any way? Jax Teller commits atrocious acts of violence in Sons of Anarchy, but he does these things for the greater good of his club and his family. Walter White is also forced to kill or make desperate decisions, sometimes out of selfish fear, other times out of consideration for others. What is compelling about these characters is that we don't know how to respond, we understand their justifications, but often struggle to relate to them.
I have found these conventions very interesting, and something to bear in mind as I come up with a few story pitches, which will be my next post.