This is a new post that is going to be attached to a marketing campaign for my digital marketing class!
Since it has been 3 (yikes) years since I have published here I don't know if the marketing campaign to promote Fiona Kiely Design will be successful or not but here it goes. Please leave a comment if you like!
Here is my new Facebook page if you want to like as well!
My first little video the make you smile! Happy Cows in County Tipperary, Summer of 2018.
Friday, 18 December 2015
Hdip Creative Multimedia Course:
Multimedia Digital Video
K00132542 Fiona Kiely
Film Four
Project #4: CeA/R/T Promotional Piece
Date of Submission: December 18th,
2015
Roles:
Position 1:
Director: Lorna O’Donnell
Position 2: PM:
Production Manager: Richard Young
Position 3: DP
Director of Photography: Fiona Kiely
Positon 4: Sound: Avril
Maher
Late November
The brief called for
our group to look at the different roles each artist makes up as part of the
Ceart Art Collective. The Ceart collective is made up of Barbara Geraty, Edel
Hogan, Mary Moran and Lorraine Callanan. Our goal as a group was to produce a
short movie to best showcase the work of each artist who are part of this group
so the movie would be cohesive and flow as an advertising piece. The goal of
the artists is to use this to obtain new shows in new counties in Ireland in
the future. To establish a relationship our teacher, Lorraine Callanan a member
of Ceart brought in all footage and still images of the artists and gave us a
background on each set of works being presented and some great footage of a
recent installation in a church on Culture Night of September 2015.
After we obtained our
introduction and brief, our team members discussed the overall film idea. Our
instructor said we could work as part of a team or individually but that the
final film should be cohesive.
Date: Wednesday December 3rd
I chose to focus on
the artist Edel Hogan and her body of work. I started looking at her images in
particular, the pitchfork on the repeated slick glass slabs in Premier Pro.
Edel’s work is very much about the found objects from the land, objects that
belonged to people and giving them new life. I spent time learning how to zoom
and pan in Premeire Pro as some of the images had a linear quality to them.
Generally I was getting a feel for the artist and getting inspiration from how
Edel presents her work.
Date: Wednesday December 9th
The complete group
of artist came in to discuss their work with us. This was a great chance to get
to know what each artist is trying to achieve within the collective. The other
three artists are more concerned with the passing of time and how to express
the emotions of change and loss and other feelings. I spoke with Edel and she
confirmed that her work is more to do with the object and questions such as: Where did it come from? Is there a connection
with the artifact.Is it a part of the land? Should it be discarded? Celebrated?
I asked her direct questions for example – what editorial style does she like? What
movies and music does she like? After this I got better idea about her work and
Edel as an artist. She expressed she would like the video piece of her flowing
more quickly than the program Nationwide. She is also a fan of The Clash so all
of these questions were very valuable. I now had a clear idea of how Edel
should be presented within the entire piece, to get some movement in between
shots of her work.
Date: Thursday December 17th
When we went to edit
the final cut we sat down as a group and sat with the director. We wanted the
whole movie to have a flow and it was difficult for the director to choose who
and in what order.
Edel comes third
after Barbara’s work on with the sketches and goose. Mary come first in the promotional piece. There is
a soft yet tense feeling to this part so Edel’s part is a little different. We
edited it to be clear about her idea and we tried to highlight the video of her
washing her found object with a dissolve and opaque underlay of her talking. It
works very well. We loved the image of the skull but could not use it in the
end as there were pink areas in two part of the image. We could not photoshop
the piece as it was not of a high enough quality. We decided instead to focus
on the rich rustic found objects (we still don’t know what it is but it is
great), the pitch fork, a rich part of our heritage and the clean simple lines
of the empty window frame, looking into another world.
We finished the short
movie with Lorriane’s work as the images are strong and there is a great colour
range in the pieces. I was interested in all the pieces overall. I enjoyed this
project a lot. It is very brave for any artist to speak on film and be recorded
regarding one’s work. We discussed this in class and we put no music into the
movie, the artist’s speaking themselves is enough and music would only the
focus away from their work.
This project
involves taking a predefined script (attached) and constructing the Visual
Narrative of the piece. Particular emphasis will be on communicating one
character’s POV (THINKER).
Multimedia
Digital Video
Movie
Title: Blame It on
the Weatherman
Time:
2 Minutes (max)
Roles:
Director:
Avril Maher
Production
Manager: Lorna O'
Donnell
Director
of Photography: Richard
Young
Sound:
Fiona Kiely
Date
of Submission: 02/11/2015
Tuesday November 10th
Movie
assignment was given and all of the team members: Lorna O’Donnell, Richard
Young, Avril Mahar and I went to discuss the movie script and potential persons
for the roles. We discussed possible actors for the shoot and contacted persons
accordingly. Many of the people I approached that week refused me on the basis
that they were working or lived too far away from Limerick Institute of
Technology. Originally we were going to shoot the movie on Tuesday October 17th
but Avril Maher had difficulty obtaining a free camera from the help desk.
Wednesday November 11th
We
met again to see about getting actors and setting a date for filming.
Thursday November 12th
As
a group we met again to discuss the camera and actor situation. I volunteered
and agreed for the role of the old lady and Richard suggested using his two
sons for the remaining roles. We also discussed locations how long the shoot
would take. Our only issue was getting a camera. It problem persisted for the
next week. Avril, the director and Richard, the director of photography spent a
lot of time on administrative tasks with the IT help desk.
Thursday November 26th
I
was discussing the camera situation with our class tutor, Lorraine Callanan and
she had one signed one out in her name and then signed it over to us. We had to
get an extension on the film due to no camera being available for required
course work.
Frieday November 29th
As
a team we argred to meet the next day, Saturday to shoot.
Saturday November 28th
We
met in Limerick Institiute of Technology (Moylish Campuss) at 11am. We checked
all equipment and I checked the small microphone that attaches to the Panasonic
hand movie recorders. The red light was on and I thought it was all in order.
We started fiming as soon as we could. We had Richard’s two teenagers there and
he promised not to keep them here all day.
As
a team we chose the bus stop close to the roundabout near the Moylish campus.
We thought that filming on a Saturday morning would be less noisy but it was
not so! We had a lot of issues. It was freezing and worse, very windy and this
made it seem more cold. A lot of car users also annoyed us by honking as they
passed by. Avril and Richard set up the shots and we decided after a few takes
that it was too bitter. I was starting to feel feverish. After it started
raining Richard made a good decision to move the shoot to the back of the
campus to the smoking area where there would be less noise from traffic and
less wind. The smoking shelter was ideal – it looked exactly like a bus stop.
There was less wind. After we shot the movie we downloaded it in the lab to
view and hear our footage. We were surprised but not shocked that all we
recorded was wind. The visual footage was really good, especially Richard’s
sons. I got help from Lorna, Avril and Richard with the microphone. It turned
on for a moment and then there was no red light turning on. We looked in the
bag for extra batteries but there were none.
We
decided to reshoot the entire sequence and talk directly into the microphone.
Filming a second time proved to be easier and it was cold so we wanted to get
it finished. After we imported the second batch of raw footage to the lab the
sound was disappointingly all wind again! I was laughing and crying! I half
expected this after the lecture on sound in class and the warning signs lecture
on sound, microphones and secondary sounds and sounds being so easily picked up
by microphones.
I
was recording the thinker’s part anyway it just ment I had to get all three speaking
parts and monologues recorded. I used the open source software audacity to
import the audio files. I saved them as .wavs. I tried to save in MP3 format
first, to make it easier for the editing phase in Premier Pro but it wouldn’t
let me. The .wav was fine I tested it in premier pro to see if we could get the
voices in with the movie straight after I obtained the speaking parts. I
recorded all the voice parts. I discussed this with the team, we agreed it was
a good solution to our problem.
I
played all the .wav files back on Saturday whilst the actors were still here. I
got the approval from Avril we tested one out in Premier Pro as a group – we
did not want to take any chances. I saved the files on three machines: my own,
Lorna’s and Avrils.
We
decide to leave the final edit for Monday. It was already after 2pm and unfair
to Richard to keep him here anylonger.
Monday December 28th
As
a team we sat together to complete the
editing proces. I imported the .wavs anf
turned down the wind noises and the imported .wav files on another
track, we then had to sync up the footage and the sound. It was a bit fiddly to
synch them all up I did this whole process with Lorna as she is very astute
with Premier Pro and it helped to have the team there to ask questions.
Endnote
In
hind sight I should have tested some footage with speaking from the outside
first before we shot everything. Honestly, we would have more time so we did
what we could with time constraints, limited use of equipment and outside
actors. We had fun too I have to say filming, Richards’s sons were amazing
throughout the process. They were both extremely professional – they learned
their lines and acted their parts perfectly. It was also a way to break from
other course work and focus on a project with a social aspect.
Wednesday, 11 November 2015
Hdip Creative Multimedia Course:
Multimedia Digital Video
K00132542 Fiona Kiely
Intoduction to Narrative Film
Production
Project #2: Moving One or More People
Through Space
Movie Title: “A to B”
Time: 1 Minute (min) – 3 Minutes (max)
Date of Submission: November 4th,
2015 >
Roles:
Position 1:
Director: Richard Young
Position 2: PM:
Production Manager: Fiona Kiely
Position 3: DP
Director of Photography: Avril Maher
Positon 4: Sound:
Lorna O’Donnell
Date: Wednesday October 21st
Obtained brief, team members and roles
were established. Discussed several options and ideas for filming. We all liked
the idea of making a piece of work with social issues attached. The team met
and discussed ideas regarding the story, locations and equipment.
We went through various scenarios
before deciding on our final story of a person going through challenging tasks
of the everyday, as a wheelchair user. I helped the director with the shot-list,
shooting script and overhead camera set ups. We downloaded Google maps and did
a virtual ‘walk through’ of the potential locations to aid in telling our
story.
.
Date: Friday October 23rd
Second meeting about movie and we did a
dry run of the script and locations. We pinned down the exact script and double
checked availability of equipment and locations again. I agreed to be Christine
for the film.
We decided on our “shooting day “for
the following Wednesday at 10am. This day was decided mainly because the
college would be quieter during reading week. . We agreed on our story and it
was my role to type up a shot list and a marked shooting script. We obtained
and checked out the camera for a week from the IT Help desk. Before filming we
discussed input FPS rates and the aspect ratio of 16:9.
Date: Wednesday
October 28th
All team members were present to film at
10 am with equipment in LIT. On our first take we thought everything was good
to go, but we had problems with the SD Card. Richard, the director had to check
out another camera and let the IT Help Desk people know of the issue with it.
We had less battery time with the new camera so we had to be mindful of this
shooting. We had less time to waste.
We began our filming in LIT and got the
interior shots first, which proved to be a good idea early in the day. All
internal shots look consistent with the lighting in the day time.
Then we shot on Nicholas Street, the
bus stop on the Island Road, Thomond Bridge and across the street from Thomond
Stadium.
I agreed to be ‘Chrisitine’ and learn
what it is like to be confined to a wheelchair to go about daily things like
getting around. It was a real eye opener. It was difficult to use the chair
outside and especially going up hill. In truth, I had to watch out for tipping
over, running into other people and I had to practice going left and right and
reversing. When the crew would say action it took me a second or two to get
going. I had to think about not banging my hands and if I would knock someone
over if I went too quickly.
We wanted to highlight the issues that
face persons confined to a wheelchair moving through space and different
environments. We expressed their frustrations, not only with stairs and steps
but with hills, the outside footpaths and other people. We could not include
all issues wheelchair users face but we highlighted some. We hope we did it in
a respectful and tasteful way. Wheelchair use is an area in our society that
needs more attention and facilities for users. I am only speaking from my point
of view after four hours in a wheelchair.
After filming we imported the shots, checked
the format and made backups and imported to four machines. In all we filmed for
about four and a half hours.
Some of the aspects we observed during
filming:
The
180 rule was observed, Lorna brought it to our attention when we were
filming at the bus stop and almost changed shot direction.
After
filming we imported footage and realized there were shadows and
reflections in door panels of crew members in the background. The director
had to edit this out.
Safety
– we decided on the day to omit filming near the pedestrian crossing near
LIT. I was responsible for safety and I felt it was important we were
aware of issues at all times during the day especially using equipment
like a wheelchair and expensive equipment like the camera.
Shot
of Christne taken our coming out of lift because time restraints and we
had more than enough obstacles to highlight issues.
Date: Monday November
2nd
The movie was edited by Richard and
Avril. Lorna and I sat beside them and took notes Lorna was thinking about
sounds and possible music and we were discussing this as Richard and Avril were
editing. All changes that took place on the day of filming were are marked in
the shot list and marked shooting script. Google docs image of map attached
also.
Date: Tuesday
November 2nd and Wednesday November 3rd
Finished
editing and putting documents together
Shooting Script:
“MARKED SHOOOTING SCRIPT 28/10/2115
Title: A to B
Dir. Richard Young
Scenes #1 - #9
Shoot Date: 27/10
SCENE: # 1 EXT
Nicholas Street – DAY
Angle on Christine leaving house in wheelchair, she
pulls door behind her.
SCENE #2 EXT
Island Road Bus Stop – DAY
Christine approaches bus stop. She drops all of her
change and decides to wheel herself to college. MCU
SCENE #3 EXT
Bottom of King John’s Castle – DAY
Christine is nearing narrow pathway of bridge. ELS
of Christine moving towards narrow pathway. Capture how NARROW pathway is.
SCENE #4: EXT
Road on the way to college, across from
Thomond Stadium - DAY
Christine wheels herself up of hill up
hill with effort. MS LOW ANGLE Bottom
of wheel.
______________________
SCENE #5: INT –
Canteen of LIT - DAY
Goes to get water and can’t reach bottles, (Low
Angle)
Heads away from cafeteria in frustration.
SCENE #6: INT –
Hallway, Christine heads for classroom -DAY
Christine
comes around the corner and is heading for door that leads to classroom 1B20.
SCENE #6: INT –
Hallway, Christine - DAY
Christine
is at door.
SCENE #7: INT –
Stairway to classroom – DAY
Chrisine cannot get stairs to second
floor.
SCENE #8: INT –
Second attempt looking for a way to the second floor – DAY
People get in Christine’s way and she is
faced with another staircase. She heads
for the lift to the right of the
hallway.
SCENE #9: INT –
Lift in LIT – DAY
Christine gets in lift to get to classroom.
SCENE #10: INT
– Christine exits lift in LIT – DAY Christine exits lift and heads for library
doors.
Going through the library is the only way to access classroom 1B20.
SCENE #11: INT
- Library Going through doors – LATE DAY
Can’t get to classroom any other way so goes
through doors.
SCENE #11: INT
- Classroom student turns on PC – LATE DAY
SET-UP 11: MS
of Christine gets to classroom too late –
LATE DAY
Lights go off. It took Christing all day to get to
college.
SCENE #2b. EXT
- Hill on the way to Bus Stop – DAY
Pick Up shot. Christine wheels herself to bus stop
and ends up rolling too quickly downhill.”
Below is the shot list from
the day of shooting, again the original was inserted in my report that Richard
is using.
“Shot
List 28/10/2115
Title: A to B
Dir. Richard Young
Scenes #1 - #11
Shoot Date: 27/10
SCENE #5: INT – Canteen of LIT - DAY
SET-UP 5: Goes to get a soft drink and
can’t reach bottles, Low Angle?
5)Heads away from water bottles
5)Leaves canteen
SCENE #6: INT Hallway in LIT – DAY
SET-UP
6a: Camera on Christine turning corner heading for door.
6: Camera pans on Christine getting to
hallway door.
SCENE #7: INT Looks for lift in
Stairwell in LIT – DAY
SET-UP 7: There is no lift here.
SCENE #8: INT Hallway in LIT – DAY
SET-UP
8: Camera on Christine facing another set of stairs. She turns corner and heads for the doors that lead to the lift.
8: Camera pans on Christine getting to
hallway door.
SCENE #9: INT Shows Christine getting
into lift.
Camera ……
SCENE #10: INT Shows Christine getting
out of lift.
SET-UP 10: Camera pans to her heading
for bridge walkway that leads to library n on the second floor.
SCENE #11: INT Shows Christine
approaching doors that lead to classroom.
SET-UP #11: 11: Can’t get to classroom any
other way so goes through doors.
SCENE #11: INT Classroom student turns
on pc
SET-UP #11: Christine realizes its too
late and throws her hands in her head in
frustration – it is too late to study.
SCENE: # 1 EXT Nicholas Street – DAY
SET UP 1: Christine leaving house in
wheelchair. Closes door behind her. MCU
SCENE #2 EXT Island Road Bus Stop – DAY
SET UP 2: Alice wheels close to bus
stop and drops coins on ground. Christine looks over at bus sign in the
distance.
SCENE #3 EXT Bottom of King John’s
Castle near Thomond Bridge - DAY
SET –UP 3: Christine is nearing narrow
pathway of bridge. ELS of chair moving towards narrow pathway.
SCENE #4: EXT Road on way to college
across from Thomond Stadium – DAY SET – UP #4:
MS LOW ANGLE. Shot of hill and getting wheelchair up hill with effort.”
Marked Shooting Script - Page 1 of 2
Marked Shooting Script - Page 2 of 2
Shot List from day of shoot – note it
changed on day.
Below - Interior Shots Diagrams
Overhead diagram of canteen scene 5
Overhead diagram of scene 6
Overhead diagram of scene 7
Overhead diagram of scene 8
Overhead diagram of scene 10 (scene 9
has been omitied at editing time).
Overhead diagram of scene 11
Overhead diagram of scene 12
Below - Exterior Shots
Diagrams
Overhead diagram of scene 1
Overhead diagram of scene 2
Overhead diagram of scene 3
Overhead diagram of scene 4
Overhead diagram of scene 5 (this scene
was not shot in the end due to safety issues).
Movie Making Process for Digital Video Assignment 2 Date of Submission: October 14th, 2015 This is our first short movie for the Digital Video module as part of the Hdip in Creatvie Multimedia. The movie is the work of my team members: Avril Maher, Lorna O'Donnell and Richard Young. Avril was the production manager, Lorna took the role of director of photography and Richard was responsible for the sound sourcing and engineering. I was the director (K00132542 Fiona Kiely) for this first movie and as we do more projects each team member will get a chance to experience each role.
Brief: Movie of a location to express an emotion
Location of Movie Shoot: Westlands Wetfields, North Circular Road, Limerick City
Physical Constraints: One movement per shot
Time Constraint: 1-2 minutes
There was certain criteria for this first short mainly, it had a time constraint to be one minute minimum to two minutes maximum. There was also a limit on camera movements of one per shot so panning and zooming were permitted but not together.
This was a great start to the movie making process. There was a lot of planning, discussing, photo taking and sketching in the pre-production phase. In the editing phase we concentrated on the software. As we each had different roles it was a great way to properly meet my new classmates and get to know them.
The linked document reports on the movie making process in detail here via Google docs:
This is a link to our first video in the digital video module:
Movie Title: “Serenity”
If you have trouble playing it the link to YouTube is here: https://youtu.be/cxc3dM2YJeM I hope you enjoy and please leave your comments! Thanking you....
My selection for Mise en Scène is from Jonathan Demme's 'Silence of the Lambs' 1991
Clip length: 1 minute and 12 seconds.
Clip of the following summary. The above clip is for educational purposes only.
Background summary to scene
The character, Clarice
Starling is a student at the FBI and was requested by her head lecturer and mentor
to go on a special assignment. Clarice is sent to find information that could
lead to information on a missing girl. Clarice has been briefed that the inmate
she is visiting is a deadly killer and would do anything. He does not care for
human life. His name is Hannibal Lecter.
Shot 1: 0
- 2 Sec: The character, Clarice Starling is walking down a darkly lit hallway,
grey exposed damp wall is exposed. Character is medium close up (mcu), we can
see the character’s face and shoulders.
Shot 2: 2
– 11 Sec: The camera focuses to Clarice’s point of view. We see that she is now
looking at what is before her, the camera turns left so that we view a cell
with wide frames of glass and bars in between.
Sill image of shot 2 - this is Clarice's first view of Hannibal Lecter
The camera pans around the
corner in the frame the audience sees Hannibal Lecter in the frame. It is a medium
long shot (mls), of him. The four pains of floor to ceiling glass are
interrupted by four strong and worn out thick bars. The music is foreboding and
decreasing in volume. Letting us know that something is about to happen.
Medium long shot (mls) of
Hannibal Lecter saying a simple and friendly “Gd’Morning” to his guest.
Shot 3:
12 -15 Sec: Over the shoulder (ots) and medium long shot (mls)
of Clarice as she speaks to Hannibal Lecter. Clarice is professional in her
tone and rushed in her response directly starting her their exchange with
professional dialogue “Dr. Lecter my name is Clarice Starling. May I speak with
you?”
Shot 4:
16 – 18 Secs: Over the shoulder and medium long shot of Hannibal Shot: Lecter
as her replies to Clarice “Your one of Jack Crawford’s. Aren’t you?” The camera
is quick mirroring the fast introductory dialogue. He is only taking up half the frame as you can see below in the still.
Still image of shot 4 - Hannibal confronts Clarice
Shot 5: 19
- 20 Secs: Medium long shot of Clarice and over the shoulder of (ots) she
replies to Hannibal: “I am yes ”.
Shot 6:
20 - 23 Secs Medium long shot and over the shoulder of Hannibal Lecter as he
addresses Clarice: “May I see your credentials?”.
Shot 7:
23- 33 Secs: Medium long shot (mlu) of Clarice and over the shoulder of
Hannibal Lecter looking at Clarice. Her immediate response is “certainly”.
Clarice looks down, then away
then down again to root around her pocket that has some slight difficulty
finding her wallet that contains her identification. She did not look in her
bag as it is swinging from her opposite shoulder. The camera rests on Clarice’s
and this is a long moment as she nervously takes out her identification and
unfolds the wallet. It is the longest scene so far in the sequence. Clarice is
dressed simply and is young and vibrant against the dank and dark exposed stone
wall behind her.
As we view her in this scene
we are aware of Hannibal’s presence as we can see quiet a lot of the back of his
neck. The over the shoulder shots (ots) are taking up almost half the frame in
each shot, reminding us of the second person in the scene.
Still image of Shot 7 -Clarice holds up her credentials to Hannibal
As Clarice holds up her
unfolded wallet to Hannibal Lecter he asks Clarice to come “closer please”
first in a polite manner. Clarice moves her arm holding the wallet towards Hannibal.
Shot 8: 34-36
Secs: Full frame and medium close up (mcu) of Hannibal,
his head is in the middle of the frame. The lights are cast on top of his head as
if he is annoyed. He commands to Clarice: “closer” But it sounds more like “clooooser”
by his exaggeration of the word.
Shot 9:
37 -41 Secs: Camera pans back to Clarice, she is standing in the same position
with the wallet held in front of her and covering some of her lower face. First
the camera pauses on her and then Clarice starts moving towards the camera,
wallet in hand. Her steps are deliberate, stern. This shot is a medium close up
we can see her upper body and face in the shot. Clarice is standing in the
centre and the dreary wall is softly lit behind her. No dialogue in this shot
just the sound of footsteps.
Shot 10: 42
- 46 Secs:Close
up shot of Hannibal he walks towards the camera . He enters the frame to move it
from a close up to an extreme close up.
Shot 11: 48
Secs: Extreme close up of Clarice who is
still holding her identification, it can be seen in the corner of the frame. Her
gaze is serious.
Still of shot 11 - Extreme close up of Clarice keeping her nerve with Hannibal
Shot 12: 49
– 55 Secs: Extreme close up of Hannibal he blinks his eyes, looks down at the wallet,
then says “That expires in one week”. He winks at her quickly and says “Your not really FBI, are you”.
Still image of shot 12 - Extreme close up of Hannibal
Shot 13: 56
– 58 Secs: Clarice responds “I’m still training at the academy”. It is a medium
long shot and over the shoulder (ots). Clarice says this with more conviction
yet some nervousness in her voice.
Shot 14: 59 - 1:02 Secs: Close up shot of Hannibal, and
over the shoulder (ots). The back of Clarice is taking up half the frame and
Hannibal is in the left hand side of the frame. “Jack Crawford sent a trainee
to me”.
Shot 15: 1:03 - 1:09 Secs: Medium close up of Clarice and over
the shoulder. Hannibal is taking up half the frame but Clarice appears more in
the distance compared to the previous shot.
Her reply to Hannibal is: “Yes
I am a student”, “I am here to learn from you”. Maybe you can decide for
yourself whether or not I am qualified enough to do that”. Clarice says this
in an honest and sincere manner.
Shot 16: 1:10
– 1:12 Secs Medium close up of Hannibal Lecter he looks at Clarice and says “Hmmm”.
Still of Hannibal from shot 16
The end of scene sets the tone that Hannibal has the upper hand over agent Starling, however, she was able to keep her nerve and display her motive as honestly as she could. The camera work moves from medium long shots to closer medium shots suggesting a build up in intimacy in their quick exchange. Hannibal is a mysterious figure as he is very cool in his delivery and gets straight to the point. This introduction of the character Hannibal sets the tone of the rest of movie and his personality traits later on. He is an intimidating character.
