A Series Of Unfortunate Events - Contextual Research

A Series Of Unfortunate Events

I have recently been loving quite a lot of Netflix original series. I have realised now that in this century awe can pretty much watch absolutely everything on the go, Netflix is one of the most popular online platform where people can watch brilliant TV series and historical films where ever they are and on any device. Which makes Netflix even more profitable to create amazing series such as 'A Series of Unfortunate Events'. This TV series was inspired by the popular 2004 film directed by Brad Silberling, and also the most popular best selling book series written by Lemony Snicket's. 

The books began in 1999 followed by the major blockbuster film release in 2004, this really made audiences want more since nothing was made after the film, until now 2017 where we have been given a brilliant Netflix original tv series. The series took a different turn compared to the film, of course this could be mostly due to having a bigger budget on the TV series and also having more access to props and the development of post-production and animation. Within the series you can really tell that the editors Stuart Bass and Skip Macdonald are absolutely fantastic, they spend hours upon weeks editing an episode making sure that all animation is done perfectly and all the colours are vibrant. I admire the editors and the producers for their brilliant work on this series so far, within my research for this series there seems not to be just one director, within this production there is a big crew who work all together to create the vision that Lemony Snicket had for both the book series and the film. Mark Palansky and Mark Hudis are the main directors/producers for this TV series, but there crew is larger than just two of these people because they like to have not just 1/2 opinions but many. I have really noticed that the use of green screens and animation is very common in almost every episode within this series, in my option it is to really create that fantasy look.

The one thing that really stood out to me in this TV series was the amount of vibrant colours that are shown in almost every scene, all the different colours and exposure really set the atmosphere for the scene. Every-time we see the Orphans happy or something lights up in their world their entire atmosphere is lit up with vibrance and exposure, this really gives the audience a good understanding of how the characters in the series are feeling. The lighting also gives off a safe feeling for the audience making them believe that the characters are in a safe home, the directors and producers know how to set the scene/atmosphere for the audience to make sure that we understand how they are feeling in that exact moment.

Here we can see Mark Planasky's work when he makes sure that the dark grainy colours give off a very cold and isolated effect. This is a complete direct contrast to when the orphans are at a different home where we can tell that they are safe, unlike Count Olaf's mansion it gives off a very unsafe cold feeling. This cold environment really helps to convey Klaus's and Violet's isolation with Count Olaf meaning they cannot get away from him no matter what they try. Mark Planasky really inspires me to create the most perfect lighting in all my scenes because without creating an atmosphere for my audience it doesn't put the audience in the characters shoes and that is exactly what Mark Planasky does in almost every scene. Most scenes were made brighter and warmer to suggest hope for the orphans but overall most sequences were designed to fit a neo-gothic style. Plansky and Lubezki experimented with not only soft light but also hard light and a mix of textures to convey this tone.

The opening credits reveal a big juxtaposition to the darker mood of the main movies plot. The opening music is cut short by the voice of Lemony Snicket. He sets it all up in a gloomy scene, his hunched over an old typewriter, typing out a story about the Baudelaire children, who suddenly become Orphans. The entire opening credits show the journey of the Baudelaire children. The transition from the beginning to the following scenes reflect the lives of all the main characters; sudden darkness and isolation. Within the opening credits Neil Patrick Harris sings the song, he has a deep croaky voice which makes audiences worried. Overall the entire song continuously sings 'Look Away' no-one really knows why the song convey this but it is mostly to tell the audience to literally look away and not watch the series any further, this also adds more mystery into the TV series making us want to carry on watching. More curious still is the 'murder board' being constructed in the credits above. Could it be part of Olaf's Scheme to get the orphan's fortune, or could it be a part of the narrators efforts to document the Baudelaire's increasingly grim lives. The opening credits introduce us clearly into the lives of the Baudelaire's and how their lives link up together.

Within the original 2004 film Jim Carrey was playing Count Olaf, this really added humor to the otherwise depressing theme, it balances the light and darkness in each setting to counter the tone of the tragedy that the children went through. The same idea went on to the TV series even though Jim Carrey doesn't play Count Olaf Neil Patrick Harris gives Count Olaf humour and darkness to the character. Ironically Count Olaf is the reason why the series is so tragic. The cinematography also reflects the orphans thoughts, both directors used secret lighting to convey this spirit and inventiveness of the Baudelaire's. We as an audience can never figure out where the light comes from but this is what adds the mystery to the series. The use of light is ultimately what saves the orphans, revealing them as more than a stage device. Both directors really inspire me to use the correct lighting tones to convey the correct story over to my audience.

The sound design in the TV series is very particular and pays attention to a lot of detail and sound effects. What i have noticed the most is that Planasky focuses most on crucial sound effects in the TV series to really create the perfect atmosphere and tone for the audience to really put us in the orphans shoes. The sound effects are usually sound of trains, rain, chains, birds etc to really create the atmospheric tone for the scene. Most of the music is inspired from the 2004 film and the sound effects are very detailed in the short stories written in 1999. This is almost as important as the lighting because without sound nothing will work.

What really interests me is that Lemony Snicket himself narrates the entire series, he shows up in the background of the action to deliver grave warnings to what is about to happen. This really evolves the story because Lemony explains the Orphans travels and misfortune in their lives. He also explains how count olaf hates them and only uses them for their own fortune. Planasky really wanted to convey the stories and also the film with including Lemony Snicket in the series because without him it wouldn't be the same. Previous fans that are readers of his stories would instantly know who he is and fall in love with the TV series. 

Planasky and Lemony Snicket really inspire me to tell a story in a weird unusual way even if it creeps out the audience because that's what create mystery and that is what viewers look for. Planaskys directorial style is very focused on colours and lighting, it is almost the most vital part of the production. I have already decided that key lighting and colour is key in my own productions but i would have never improved it if it wasn't for Planasky and his work. I do need to also make sure not to neglect the colour grading in any production. I can also tell that Planasky does a lot of prep before he shoots a scene, he always gets the white balance correct and makes sure that the colour grading reflects the mood of the piece. My piece was quite dark and grainy and so are Planaskys scene, i aimed to used my key lighting correctly and then to enhance the dark grainy look through post-production. I will always enhance key colours in my productions just like the picture above where the atmosphere is dark and gloomy but the children are wearing bright colourful jackets to give the audience a little hope for the orphans. This is how i always want to portray my story.