Film Genre: Action

Action movies are a film genre wherein the story is largely told through physical action as opposed to dialogue. The action typically involves individual efforts on the part of the hero. While action has long been an element of films, the "Action film" as a genre of its own began to develop in the 1970s. The genre is closely linked with the thriller and adventure film genres. While action films have traditionally been a reliable source of revenue for movie studios, relatively few action films garner critical praise. While action films have traditionally been aimed at male audiences, from the early teens to the mid-30s, many action filmmakers from the 1990s and 2000s added female heroines in response to the times, glorifying the strong female archetype.

These movies have tremendous impact, continuous high energy, lots of physical stunts and activity, possibly extended chase scenes, races, rescues, battles, martial arts, mountains and mountaineering, destructive disasters (floods, explosions, natural disasters, fires, etc.), fights, escapes, non-stop motion, spectacular rhythm and pacing, and adventurous heroes - all designed for pure audience escapism with the action sequences at the core of the film.
They almost always have a resourceful hero struggling against incredible odds, life-threatening circumstances, or an evil villain, and/or trapped or chasing each other in various modes of transportation (bus, auto, ship, train, plane, horseback, on foot, etc.), with victory or resolution attained by the end after strenuous physical feats and violence (fist fights, gunplay). Action films have traditionally been aimed at male audiences, ages 13 to the mid-30s in both American and world-wide markets.

During the 1920s and 1930s, action-based films were often "swashbuckling" adventure films in which Douglas Fairbanks or Errol Flynn wielded swords in period pieces. The long-running success of the James Bond series of spy films in the 1960s and 1970s helped to popularize the modern day action film. The early Bond films were characterized by quick cutting, car chases, fist fights and ever more elaborate action sequences. The series also established the concept of the resourceful hero, who is able to dispatch the villains with a ready one-liner. Early American action films usually focused on maverick police officers, as in Bullitt (1968), The French Connection (1971) and Dirty Harry (1971). These were among the earliest films to present a car chase as an action set-piece. However, the action film did not become a dominant form in Hollywood until the 1980s, when it was popularized by actors such as Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis and Mel Gibson. The 1988 film Die Hard was particularly influential on the development of the genre in the following decade.

Notable action film directors from the 1960s and 1970s include Sam Peckinpah, whose 1969 Western The Wild Bunch was controversial for its bloody violence and nihilist tone. Some of the influential and popular directors from the 1980s to 2000s include James Cameron (the first two Terminator films, Aliens, True Lies); John Woo (Hong Kong action films such as Hard Boiled and US-made English-language films such as Hard Target); Ridley Scott (Black Hawk Down); The Wachowski Brothers (the sci-fi The Matrix trilogy) and Michael Bay (Bad Boys 2).

I will use ¨The World Is Not Enough¨ as my movie to analyze; my case study. It was first published in 1999, and it’s the nineteenth spy film in the James Bond series, and the third to star Pierce Brosnan as the fictional MI6 agent James Bond. The film was directed by Michael Apted and revolves around the assassination of Sir Robert King by Renard, and Bond's subsequent assignment to protect King's daughter, Elektra, who had previously been held captive by Renard. During his assignment, Bond unravels a scheme to increase petroleum prices by triggering a nuclear meltdown in the waters of Istanbul. Despite the film's mixed critical reception, it earned over $361 million worldwide. This movie uses the spy genre as it’s usually focused more on the exploits of a super-intelligent man, rather than a super-strong man. The spies are usually one-step ahead of the villains, but always find their way into danger. They usually also find their way into the arms of a willing woman.

First short-film

Synopsis:

Begins in an office, bankers working. Jason is the boss, a strict one. He revises everyone’s work done at the end of the day. He finds that Tommy hasn’t done anything, so he starts to discuss with him. In the end, mocking him, he fires him. Tommy goes to a bar, starts drinking, and in the next scene he goes back to his flat (poor area) and tells his wife that he has been fired, and the wife starts crying, while showing Tommy that there has been a card sent to them saying that they owe money or their house will be mortgaged. They fight between them because the wife knows that they will not be able to pay; Tommy says it will all work; wife says: no, it’ll never work. Never. The wife leaves the flat. Tommy does his tie, in front of the mirror. Grabs the gun. Leaves.

Script:
Int: bank. Day.
Bankers working
Jason:
All righty, I want each of you to give me your work right now. Specially you, Tommy, you looser.
Tommy:
Yes sir. No worries.

Clock ticking. Jason revising what everyone has done. Reaches Tommy…

Jason:
You’re pathetic, man. (Spits on Tommys work). You can’t do this little task? Then no more working for you, pumpkin.
Tommy:
But boss, please. I really need this…
Jason: (interrupting)
Come on, get you’re stuff and get out. Shouting: Look at this looser leaving; everyone say bye, bye to him!

Int: Bar. Dark lighting.
Tommy sitting at a bar, waiting for his drink.
Tommy walking to his house
Int: Tommy’s house. Poor building and environment.
Tommy:
Hi honey…
Wife:
DID YOU SEE THIS?!? (Showing him a card from the government). We need to pay a fortune just to keep our flat!
Tommy:
Honey, I need to te…
Wife: (interrupting)
It’s too much money! We won’t live!
Tommy:
I said shut up and listen to me!!! I’ve been fired…OK?
Wife: (crying)
Jesus Tom…
Tommy:
Don’t worry, babe. I’ll make it w…
Wife: (interrupting)
No Tommy, no. It’ll never work. Never.

Wife leaves the flat. Making a loud noise while leaving.
Tommy goes to his bedroom, looks at himself in the mirror, slaps his face.

Tommy:
It’s the only way…

Light disappears (dissolves). Reappears again (as if it was the next day) and there is Tommy doing his tie up in the bathroom. He grabs the gun and leaves.


CHARACTER: Jason Delgado, Banker
PROP: black tie
LINE OF DIALOGUE: It’ll never work

CAST
Jason Delgado: Lucas Ricardi
Tommy: Max Cooper
Wife: Giuliana Bruni


CAMERA SHOT LIST

Location SCENE FRAMING SHOTS Cam/Light Action. dialogue
Bank 1 Establishing shot Day people work
Bank 1 Long shot/Jason Track shot Day Jason talks
Bank 1 Close up/Tommy High angle Day Tommy talks
Bank 1 Close up/ clock E/L Day clock ticking
Bank 1 M/S Jason Track shot Day Jason talks
Bank 1 S-R-S Eye level Day Jason-Tommy
Bank 1 Track shot M/A Day Tommy leaves
Bar 2 side of shot M/A Low Tommy drinks
House 3 wide shot Day Car engine
Room 4 pan shot M/A Low Tommy enters
Room 4 S-R-S M/A Low Tom-Wife-Tom
Room 4 Med-shot Track shot Low Wife leaves
Room 4 Close Up Eye Level Low “…only way”
Room 5 Black - Dark -
Room 6 O/S Eye level Low does the tie
Room 6 POV Track shot Low grabs gun, leaves.