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Film: Annabelle Creation
David F. Sandberg is a Swedish filmmaker who is mostly known for his collective horror short films. He was born on 21 January 1981 in Jönköping, Sweden. He is currently 42 years old and has filmed 4 films. These films are "Lights Out", "Annabelle Creation", Shazam and finally "Shazam Furry of Gods" All the films listed have also done very well and have gotten a lot of popularity too.

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Reflect upon how you think you could use these techniques in your future filmmaking?

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Reflect upon how you think you could use these techniques in your future filmmaking?

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Techniques that were used in this film are (with examples)

David F. Sandberg is the director of the 2017 horror movie "Annabelle: Creation." In the film, a dollmaker and his wife decide to welcome a nun and five young girls from a closed orphanage into their house 20 years after the terrible death of their daughter. But Annabelle, the demonic doll made by the dollmaker, quickly shifts her focus to them.

These are some of the horror filmmaking techniques utilised in "Annabelle: Creation"

1. The film's sound design uses sound to elicit fear and suspense. For instance, there are times when there is no sound at all, which unnerves the audience and keeps them waiting for the next jump fright. In contrast, other sequences, like when Annabelle attacks Janice in the bedroom include loud, startling sound effects that frighten the audience.

2. Lighting is used in the movie to build suspense and to draw attention to certain people or objects. Particularly, the house's use of shadows and low lighting contributes to the unsettling atmosphere by leaving the viewers wondering what might be hiding in the shadows. For instance, the single flashlight used in the scene where Sister Charlotte enters the attic contributes to the spooky mood and sense of vulnerability.

3. Several camera methods are used throughout the film to achieve various effects. For instance, clear use of handheld cameras can be observed which in various moments gives the impression that the audience is in the thick of the action, heightening the tense and dangerous atmosphere. Close-ups of Annabelle's face and the dolls' expressions are also used to evoke a sense of dread and horror.

4. Music is used throughout the film to build suspense and mark significant scenes. The score is written by Benjamin Wallfisch, who produces a terrifying, unsettling soundscape that heightens the tension throughout the film. The music, for instance, establishes a sense of dread in the moment where the girls are exploring the house and builds up to a crescendo when they discover the Annabelle doll.

5. Jump Scares: To frighten the viewer, the movie employs jump scares, which are abrupt, unforeseen moments of dread. For instance, the camera pans to an image of the possessed doll's face and a loud sound effect when Linda is playing with the Annabelle doll in the barn. This is a typical jump scare that startles the viewer and instills a brief feeling of panic.

The overall mood of "Annabelle: Creation" is terrifying and intriguing thanks to the employment of a variety of horror filmmaking techniques. The movie successfully evokes a sense of horror and dread that keeps the audience on the edge of their seats by utilising sound, lighting, camera techniques, soundtrack, and jump scares.

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Source #1 A History of Horror Movies: 1896-2018

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Source #1 A History of Horror Movies: 1896-2018

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Briefly summarize what you learned from each source, under the following headings:

Inspirations / influences / cultural responses

Horror takes our real life anxieties and fears and uses it to their advantage on screen to bring out the audience's fears. It takes inspirations from real world events occuring during the time period such as for example Frankenstein(1931), where the villagers trying to burn the creature represent american society during the Great Depression. Another example being Godzilla(1954), recreating the experiences of World War 2 and the atomic age. Such events influenced directors to bring back the emotion through their horror films. The genre was also used to communicate messages to society, such as towards teenagers on drugs, sexual activities to not fall prey to these potentially damaging activities. Movies communicating such ideas, Black Christmas(1974), Jaws(1975), A Nightmare on Elm Street(1984).

Tropes / techniques

To bring out the audience's fears and anxieties, horror uses a lot of blood and gore to give a sense of intense pain and disgust, sharp weapons such as knives to indicate danger and further fear. Unique camerawork and lighting was also utilized to make the monsters have a silhouette making them unknown to the audience to give them a eerie feeling of the unknown.

Trends / sub-genres

Horror encompasses over 100 sub-genres and each horror film can be of any of those variants such as psychological, slasher, supernatural, or even comedy horror depending on the emotions and perceptions that the director intends the audience to experience. A reason why horror has so many subgenres is because it should be treated less as a genre but more as emotions of intensity, fear, shock or disgust which can be brought to the audience in various ways.

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How has this professional inspired my future filmmaking?

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How has this professional inspired my future filmmaking?

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I have been inspired by David F. Sandberg in many ways. I have watched all 4 films David is famous for and there is 1 thing I have loved about all 4. One of the first things I have noticed is that David focuses on Problem Solving for all his films and doesn't leave them flat and dead. He also mentions "every scene will have problems to solve, no matter how simple the scene" this shows that David is trying to always create some sort of tension for the audience and always making them feel uncomfortable and never bored. This is a great technique to use in filmmaking. He also mentions how multiple times in his movies (mostly in Shazam) that his characters just go out do nothing and come back in and witness, create or build up to some sort of tension in the movie. In my opinion each time we see a character alone outside about to witness tension that we know and the charecter doesn't sometimes we feel like we are in the characters place. If we get this feeling watching a film then it means the cinematography of the film is so GOOD that we feel like we are in the characters place.

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4 Classic Cinematic Techniques for Horror Films

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4 Classic Cinematic Techniques for Horror Films

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Link:
https://www.digitalphotopro.com/pro-video/4-classic-cinematic-techniques-for-horror-films/

MLA Citation:
D. Moses, Jeanette. “4 Classic Cinematic Techniques for Horror Films - Digital Photo Pro.” Digital Photo Pro, 2022, www.digitalphotopro.com/pro-video/4-classic-cinematic-techniques-for-horror-films/. Accessed 19 Feb. 2023.

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Summary:
1. Shadows: It is not surprising that one of the most popular strategies employed by horror filmmakers is the use of shadows since they appeal to a basic dread of the unknown and what might be hiding in the shadows. Almost always, the thought of what might be lurking in the shadows is more terrifying than what is actually there. In order to keep their audiences on edge, many horror filmmakers will experiment with this tactic during the course of their picture. In order to light the background rather than the subject and make the threatening element feel as though it doesn't belong in the scene, it is very common to photograph the major antagonist as a silhouette.

2. Uncommon Angles: In general, when working in the horror genre, directors have a lot of creative licence, and this definitely holds true when using uncommon camera angles. A typical approach for creating anxiety in your audience while they watch a drama is the off-kilter Dutch angle shot. This perspective provides the impression that the character is looking at the world upside down. Another unusual perspective that gives viewers the impression that the main protagonists are being observed by an unknown force is the birds eye view. Another common option for horror directors is POV shots. They frequently depict the restless energy of the victim or the antagonist in a drama.

3. Uncommon Lighting: One of the few genres, horror, doesn't light actors to make them look as attractive as possible. Instead, horror filmmakers frequently decide to use considerably more elaborate lighting schemes to illuminate their subjects. Popular methods include lighting from below, using only one flashlight beam, or using flickering lights.

4. When it comes to colour, horror film directors also have a lot of creative licence. It's not uncommon to see red or green splashes of colour in a horror movie because, similar to unique lighting techniques, horror writers and directors aren't frequently concerned with making their characters attractive. The audience might be made to feel scared and in danger by using excessive colours.

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The best horror films can immediately convey a sense of unease or imminent danger-and they do it largely through cinematic techniques. In celebration of Halloween let's dive into some of the most widely used cinematic techniques in the horror genre. Watch the video at the bottom of this post from Film Riot to see these horrific techniques explained and demonstrated in classic horror movies.

#1 Shadows

Shadows play into a primal fear of the unknown and what might be lurking in the darkness, so it's no surprise it is one of the most commonly used tools for horror filmmakers. The idea of what could be in the shadows is almost always scarier than what actually is there. Many horror filmmakers will play with this technique over the course of their film to keep their viewers on edge. An extremely popular use of shadows is to shoot the main villain as a silhouette-lighting the background rather than the subject and making the dangerous element feel as if it doesn't belong in the scene. Another way to use shadows is by casting them on surfaces-a menacing subject approaching their unsuspecting subject or to demonstrate some kind of paranormal activity.

#2 Uncommon Angles

Generally speaking, filmmakers find a lot of freedom to get weird when working within the horror genre and this definitely applies to using uncommon camera angles. The off kilter Dutch angle shot is a commonly used technique for giving your viewers a sense of unease while watching a scene. This angle gives the sense that the world around the character is being turned sideways. The birds eye view is another uncommon angle that gives viewers a feeling that the main characters are being watched by some unseen entity. POV style shots are another popular choice for horror directors. These often communicate the frantic energy of either victim or the villain in a scene.

#3 Uncommon Lighting

Horror is one of the rare genres where actors aren't lit to look as attractive as possible. Instead, horror directors often choose to light their subjects with much more stylized lighting setups. Common techniques include lighting from below, lighting with a single beam of a flashlight or flickering lights.

#4 Color

Horror directors also have a lot of freedom when it comes to color. Similar to uncommon lighting techniques, horror creators aren't often concerned with making their characters attractive, so it's not unusual to see red or green washes of color in a horror film. The use of over the top colors can help communicate feelings of fear and danger to an audience.

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4 Classic Cinematic Techniques for Horror Films - Digital Photo Pro

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The best horror films can immediately convey a sense of unease or imminent danger-and they do it largely through cinematic techniques. In celebration of Halloween let's dive into some of the most widely used cinematic techniques in the horror genre.

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Source #2 A Short History Of The Horror Film(1890s-2010s)

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Source #2 A Short History Of The Horror Film(1890s-2010s)

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Briefly summarize what you learned from each source, under the following headings:

Inspirations / influences / cultural responses

Since the creation of horror films, it has been used as a reflection of the fears of our society and culture. Spanning such a large size with many variations. Early 1900s, the main medium used to bring out fears were ghosts, skeletons and the devil using supernatural and religious imagery. Films during this time period were focused on giving the audience a sense of amuse and humour instead of fear, which would follow along in the coming decade. Later in the 20th century horror films shifted from humor to more serious films. Also during this time, horror films were booming in Western Europe where the events of World War 1 and the troubling post war government rule were the influences in their films.

Tropes / techniques

In early horror films, use of trick photography, double exposure, and practical effects to bring fictional characters to life. Films by Walter R. Booth used trick photography to create floating heads.

Trends / sub-genres

As mentioned in the first source, horror covers a vast number of subgenres. Early horror films were more humorous, taking the monsters and evil less seriously, while later films turned to the more serious side emphasizing on the fears and dangers influenced by real world events to further connect and impact the audience. Another subgenre that developed being psychological horror, using intense visuals, sound and expressions to increase the intensity faced on to the audience.

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Title - David F. Sandberg

Link: https://en.wikipedia.org/wiki/David_F._Sandberg

Summarising the information: David F. Sandberg (born January 21, 1981) is a Swedish film director. He is well known for his collective no-budget horror short films under the online alias ponysmasher, as well as his 2016 directorial debut Lights Out, which is based on his famous horror short of the same name from 2013. [1] He also directed The Conjuring Universe spin-off horror picture Annabelle: Creation (2017), as well as the DC Extended Universe films Shazam! (2019) and Shazam! Fury of the Gods (2023).

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David F. Sandberg (born 21 January 1981) is a Swedish filmmaker. He is best known for his collective no-budget horror short films under the online pseudonym ponysmasher and for his 2016 directorial debut , based on his 2013 acclaimed horror short of the same name. He also directed The Conjuring Universe spin-off horror film Annabelle: Creation (2017), and (2019), the seventh installment in the DC Extended Universe.

David F. Sandberg was born on 21 January 1981 in Jönköping, Sweden. According to Sandberg, he grew up watching films and making his own using his dad's VHS-C camera. He worked in a video store as a teenager, and saved up money to buy his own camcorder for filmmaking.

Beginning with animation and documentaries (2006-2013)

In his late teens or early twenties, Sandberg began working at Film i Jönköping, a local film center in Jönköping, initially as an intern. He learned more about filmmaking from Svante Rosberg, the film commissioner who ran Film i Jönköping when he started, and whom Sandberg considers his mentor.

Starting in 2006, Sandberg found moderate online success making animated short films; according to Sandberg, his first online successes were his films För Barnen and Vad Tyst Det Blev, the latter of which garnered 1.7 million views on YouTube. As a result of his increased visibility, he began to receive offers for animation work; his first job was working as a consultant on the TV show Myggan on the Swedish Channel 5.

He continued working at Film i Jönköping, primarily working on documentary projects. From 2006 to 2009, he worked on several documentaries for Arvsfonden, the Swedish Inheritance Fund. His last collaboration with Rosberg before his retirement was Animera = Göra Livlig, a 2010 documentary about senior citizens creating animated films.

In 2009, he moved to the city of Gothenburg. He continued working on animation and documentaries, and began collaborating with producer Claes Lundin. In 2011, they completed and sold an animated documentary series called Earth Savers, and in 2013, their documentary short Ladyboy premiered at Cinequest Film Festival.

Shifting to feature films (2013-present)

In 2013, he began to shift his focus away from animation and documentary works and towards horror short films. According to Sandberg, his original goal with filmmaking had been to make horror and sci-fi films, and he felt he needed to have some existing work in that field in order to get funding for future work. Lacking any funding of his own, his shorts were made with no budget-his equipment and props consisted mostly of items he already had or could buy very cheaply, and his only cast and crew were himself and Lotta Losten, his wife. He released his films on both Vimeo and YouTube, using his alias ponysmasher.

In 2013, he released his second horror short, , which centered around a monster that only exists when the lights are turned out. The film was a viral success, and quickly garnered millions of views. According to Sandberg, his life changed "in every way imaginable" after Lights Out; he began receiving tons of messages from film industry people who wanted to work with him.

One of these contacts was Lawrence Grey, a producer who wanted to adapt Lights Out into a feature-length film. Grey brought screenwriter Eric Heisserer and producer James Wan on board to collaborate and produce a script with Sandberg, who would also direct the new feature. The film (also titled ) began production in mid-2015, and premiered at LA Film Festival in June 2016. The film was a massive box office success, grossing $148 million on a $5 million budget, and a moderate critical success, earning a 76% approval score on Rotten Tomatoes and a 58 out of 100 score on Metacritic.

Sandberg next directed Annabelle: Creation, a prequel to supernatural horror film and the fourth film in The Conjuring Universe. The film was released in 2017 to positive reviews and box office success.

In 2019, Sandberg directed the DC Extended Universe superhero film , based on the DC Comics character of the same name. The film received positive reviews. In April 2019, reported that New Line Cinema is developing a sequel with Sandberg returning to direct. He is set to direct and produce the horror film The Culling with his wife Lotta Losten through their production company Mångata. The film will be distributed by Lionsgate. He is set to direct the film adaptation of Cullen Bunn and Jack T. Cole's "The Unsound" graphic novel for Netflix.

Sandberg was diagnosed with atypical autism when he was a child.

Sandberg married actress, designer, and photographer Lotta Losten in 2013. She has featured in many of his short films, including Lights Out.

Sandberg and Losten moved to Los Angeles together circa 2015. Sandberg's younger brother is Joakim Sandberg, creator of the Iconoclasts video game.

Television

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David F. Sandberg (born 21 January 1981) is a Swedish filmmaker. He is best known for his collective no-budget horror short films under the online pseudonym ponysmasher and for his 2016 directorial debut , based on his 2013 acclaimed horror short of the same name.

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Summarize information from source + link

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Title - David F. Sandberg On Creativity in Filmmaking

Link: https://musicbed.com/blog/career/creativity-filmmaking-david-f-sandberg

Summarising the information: For example, David shows how numerous of his Shazam! characters dash outdoors with coats on, do nothing, and then come back inside, causing all sorts of consistency issues. As you'll see in the film, he ultimately found answers, and those solutions led to something that was actually superior than the original scripted version.

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When you think about all the trials and tribulations that go into making a film career, finding a mentor to learn from just makes sense. That's where David F. Sandberg comes in. He's made it. His name is behind massive hits like , , Annabelle: Creation, and the upcoming Shazam: Fury of the Gods. But, he's also been completely candid about what it took for him to get there. Through his YouTube Channel, he's uploaded incredibly personal, honest, and flat-out entertaining video essays about the art of filmmaking and the art of being a filmmaker -two completely different things.

So, after poring over his content, we decided to outline a few key takeaways-some observations from his videos and some observations from a broader perspective. We'll include links to the videos throughout, so use this article as a springboard into the rest of his content. As you're about to see, it's a gold mine for filmmakers at every level.

Movies Are Problems-Creativity Is Problem Solving

One of David's most illuminating videos focuses on the idea of problem-solving, primarily in his feature film Shazam!. In it, he offers some great insight into how he approached problems during production, but it also hints at a great truth: films are problems. "Every scene will have problems to solve, no matter how simple the scene," he says at one point.

And it's true. Sometimes, the idea of creating a film is romantic. Your vision unfolds before your eyes. We latch onto the inspirational moments but completely forget to consider the fact that every brilliant idea produces countless little problems that either need to be solved or circumvented.

For example, David explains the fact that several of his characters in Shazam! run outside with jackets on, do nothing, and then run back inside, which creates all sorts of continuity problems. Eventually, as you'll learn in the video, he did find solutions and those solutions eventually led to something that was actually better than the original scripted version:

You're going to have some sort of problem to solve in every scene, but that's kind of the fun of it. And, when you come up with a solution that actually makes things better, it's awesome. But, working with movies has kind of ruined video essays and film analysis for me because you just never know if something was part of a brilliant plan or it just happened to turn out that way because a problem had to be solved on the day.

And that brings up a great point. Sometimes the genius of a film may have never been intentional at all. Maybe it was just a talented filmmaker scrambling to find a solution to a problem and stumbling upon something greater. Maybe the genius is the fact that the film got made at all. In the end, it's helpful to recognize that films are problems and there's no such thing as creativity without problems. So, when they arise, just thank the film gods and get to work.

Your Vision Is Secondary to the Viewer's Experience

An overarching theme of David's filmmaking advice is perspective. Whether he's thinking about the sound of a film or even the role of darkness in horror movies, he's continually talking about how an audience is receiving the product more than what he's trying to say with that product.

You may think making a movie is personal, but it's not. In fact, the whole reason you're making that movie is that you want people to watch, experience, and (most importantly) enjoy what you're making. So, it makes sense to consider your audience when you're making decisions.

Take, for example, David's exploration of sound. In this clip, he compares the viewing experience of a clip with poor sound quality and good imagery and bad imagery with good sound quality:

Recording good sound is perhaps not as sexy as capturing really good-looking images, but it is just as important if not more important.

And that's the key. How "sexy" or enjoyable a process is for you is irrelevant to your audience if it doesn't serve the greater goal-entertaining your audience. You may need to sacrifice something you hold dear (here's looking at your one-takes and long-takes) to keep the pace up and keep the audience engaged.

And then, there's the lesson of listening to your audience. When he was conducting test screenings for Lights Out, David learned a hard lesson about endings:

It felt like they were loving this movie. It was great. Then, I saw the test scores, and it was clear that they didn't quite love the movie. It turns out they didn't like the ending. We sort of overstayed our welcome and tried to do a little too much stuff. We had another test screening, showed the audience the exact same movie, but we just ended it five minutes earlier. We just cut it right there. And now the test scores went through the roof. They loved it. A bad ending can undo almost everything you did before it.

Again, even if you loved those last five minutes it doesn't really matter if the audience didn't also love those last five minutes. As Faulkner said, you have to "kill your darlings" sometimes. But, once you're able to take that step, you're well on your way to making a film people want to watch.

Energy on Set Matters

The process of making a film will ultimately inform the film. Something David explores in this wisdom-packed video speaks to a key role for the director. It's not just about putting a film together, it's also about defining the energy of the set-which will impact the final product in ways you may not see yet.

Credit: Ken Woroner
Copyright: © 2018 Warner Bros. Entertainment Inc.

His first point is urgency. Many filmmakers, as he points out, come from short films where things move quickly, and shots unfold in sequence. But, on larger features, that's not how it happens. As the director, you have to be intentional about what a scene requires from actors and how it will impact the following scenes, or you may find that an energetic take one day leads to a tepid take on the next. It's about urgency, and that may be something you have to create:

It seems very obvious to really think about where you're coming from and where you're going and to discuss that with your actors, but it's something I see being missed sometimes.

And then, there's a bit more of a tangible problem. There's a reason so many actors and directors love live theater-there's an excitement and energy that can be difficult to replicate in other media, and that includes a camera:

They say the camera adds ten pounds to people, but I think it takes away some of the awesomeness, sort of dulls things down a little bit. Sometimes we have to kind of exaggerate things, make them bigger to reach what you're going for. You have to kind of aim beyond your target to actually land at your target.

When in doubt, go bigger. David points out that it's rare to wish a scene or a setting or a camera movement was more subtle in the cutting room. Generally, directors want the opposite. So, be sure you're getting the coverage you need and the energy you want when you're shooting. This can apply to shots, performances, practical effects, or, as David points out, even the set design. Ultimately, no one is going to bring the energy a film requires if you're not also bringing the energy. You have to be the source for the rest of the cast and crew.

Know Who You Are

As we've mentioned a few times, David doesn't hold back in his videos. And, that's the best part. He's extremely candid about some of the more sensitive sides of his career and his filmmaking process, which is something that we don't talk about nearly enough. For example, depression is something he deals with through the process of making a film, and it's something he thinks many filmmakers will deal with as well:

Not only does it feel like you will never get out of depression; it even somehow tricks you into thinking that everything that came before was shit as well. But, it wasn't. I've been through it so many times now, and it's so regular, that I know it will pass.

The point is, you have to know about it to anticipate it, and you have to anticipate it in order to defeat it. He knows that he'll get depressed when he sees the first cut, or even when the film is finished, and he's learned over time to be ready for those moments. He can know that his brain is saying one thing, but the reality is saying something else.

As creatives, we can't change who we are, but knowing who we are is even better. In one video entirely focused on being an introvert, David shares the fact that he's been diagnosed with atypical autism, which doesn't change anything about who he is, but it definitely changes how he approaches his life and career.

I don't really care what the label is; I just need to know how my brain works so I can try to improve problem areas or work around them. I have improved tremendously.

Unlike some other crafts and careers, it's difficult to separate your personal well-being from the film's well-being. As we said previously, directors must be able to bring everything they have to a project in order for it to succeed. So, if you're going to make successful films, it helps to have your mental health squared away. It's a process that takes a lifetime.

In the same video, David brings up the fact that he hates to pitch his work. It's uncomfortable, and he needs to be incredibly prepared before he can make a presentation. And, he admits it'll probably never be comfortable, but he knows that about himself, which is everything:

There are directors who are good in the room. I'm not going to mention names, but there's this one guy who's done some big movies that haven't been great and haven't always done well at the box office, either. But, he's been hired over and over again because he's good in a room. He can get you all fired up about an idea and make you go, 'Yes! Here's money. Go make it.' I don't think I'll ever be that person. It's just not who I am. But, there's always room for improvement. How do you improve at something? By doing it over and over and over. That's how I learned how to make movies.

If you haven't stopped in the middle of this article to watch all of David's videos -first, thank you, and second, you should probably go do that now. They're poignant, informative, inspirational, and entertaining-and they're a great look at the realities of filmmaking.

Feature Image Credit: Steve WilkieCopyright: © 2018 Warner Bros. Entertainment Inc.

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A Conversation with David F. Sandberg About Creativity in Filmmaking

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When you think about all the trials and tribulations that go into making a film career, finding a mentor to learn from just makes sense. That's where David F. Sandberg comes in. He's made it. His name is behind massive hits like , , Annabelle: Creation , and the upcoming Shazam: Fury of the Gods .