Questionnaire https://www.surveymonkey.co.uk/r/RZ8KSJS Here are the results of the survey overall.
Please explain further to question 1:
I quite like these responses as they did influence me to do more of a narrative music video.
The reason why I specified to Tyler, the Creator and Brockhampton is that the song I am going to choose is either NEW MAGIC WAND or ST PERCY, which are both songs from these two artists/bands. I felt like to get the best research for me personally had to be about these two artists as they would help me the most over any other artist.
These responses helped me more to choose the narrative style of the music video as I feel like it would be more impactful. I feel like I can be more creative with a narrative music video as I can make a story as crazy as possible to match the songs I have chosen. "no matter what genre, narrative music videos grab mu attention more" this is one of the responses that I had to this question and I strongly agree. A performance video can be very generic sometimes and I don't want the video to be generic and boring to watch. With a narrative video, you can be as creative as you want and these songs match a narrative. While the research from the survey says that an urban environment has the most votes I didn't want that to influence me too much as I believe that there any genre can work in any type of environment. This is why I added a doesn't matter option because I wanted to see if there were any people that thought the same way as me.
I wanted to get some inspiration from the look of some music videos that stand out from people and some of the videos I got really stood out and I really enjoyed. While I have seen Post Malones 'Goodbyes' music video I had forgotten how good the video looked and the narrative behind it. The atheistic of the video really stood out from all of the other responses. The old western vibe to the video made it a more interesting watch. Along with the somewhat generic song themes, the video makes the song a lot more enjoyable for me as it reminds me of the video. This is the same effect that I want with my music video.
This question doesn't affect my final video too much as the video doesn't have to have an intro or outro.
With this question I wanted to know what style to go for with the video. Although I will have a standard amount of editing in the video I want to keep it gritty and look rough. So I won't be doing any colour grading or any heavy editing to make it cinematic.
This question over summarises the survey overall as it makes the video I will make more important to me. Noone put that they disagree or strongly disagree. This shows me that the target audience for music videoes likes to watch them and are interested to watch them. It adds another layer of interest for the song and the artist which is what the fans really want.
Strengths:
Good for quick research that precise
Gets a range of responses and answers
Easily shared over social media
Very quick and easy to complete
Has influenced the my decision on doing either a performance video or narrative
Easy to analyse with the range of responses
I am able to take parts of peoples responses into my video
Videos sent in by other people that are of interest can influence
Weaknesses:
Although I have a range of answers it's only towards one demographic
I could have been more specific on some questions as some answers are a generic
Had more questions to get a better feel of what the people think of music videos
Stretch out to other video genres so that I get a bigger coverage in my research
Wording on some of the questions
Overall the survey has helped me fully decided to go for a gritty, realistic narrative music video. I feel like the research shows that that's the best for the mass to enjoy it. Some of the videos that I got sent to watch did also influence me especially Goodbyes by Post Malone. The videos aesthetic and overall tone to the video really inspires me to create an interesting and fluid story that makes sense. I want the narrative to be the point of the video and the story to stand out. I want to use a range of locations and shots to create the story. I feel like using things like a gimble and other equipment will be very useful and interesting to use as I want the gritty and real-world the video will be based on needs to be shown in the best way possible.
Using the medium of a survey like this really made it easy for others to do which means I get more responses and overall more insight from other people. Along with the fact that I sent out the survey to my social media so that it could get a lot of coverage it also means that the demographic of the results will be for the target audience. As well as the target audience that the video is for it also stretched out to family members and I got a wider spread of responses and not just the correct age demographic. To get a wide age demographic for my research did help me as I got some insight on what other peoples responses were to my questions.
Eminem has released his new album called Music To Be Murdered By. Eminem has used Alfred Hitchcock album with the same name and imitated the original with the cover art. One of the songs on the record is called Darkness and the video gives it a new meaning and adds more context to the lyrics. The song is about the Las Vegas festival shooting and it creates a narrative that makes you believe that Eminem is the shooter and he is giving reasons as to why the shooter did what he did. Em uses his platform to express his opinions on the gun law in America, he gives a very valid and believable side to the argument and does it well.
In this music video, Eminem looks to be the person in the video as he is wearing the same hoodie as the figure in the video. Later on, in the video, we find out that is isn't him but he is talking about the Los Vagus festival shooting. The hook of the song is "I don't wanna be alone in the darkness" as Eminem is talking about what we think to be him he is sympathising almost with the shooter. The shooter had some mental health problems and Eminem exploits them as the shooter was allowed to hire weapons. The entire song is about exposing how broken America's gun laws are and how Eminem wants it to be fixed.
"Fuck the colt 45 I'm a need somethin' stronger" This line along with another one, later on, is a double entendre and he uses this to portray a double meaning with the visuals. A colt 45 is both a pistol and a drink at around 5.6% in alcohol. Another line, later on, has a similar meaning.
"If I pop any caps it better be off of vodka" popping caps can be referred to ass taking a lid off of a drink. Vodka is also stronger between the two drinks. The other meaning is also to shoot a gun. As this line is said both a bottle of vodka and an empty bullet casing is shown. This reinforces the double meaning off of these lines. The majority of the song has lots of double entendre's that are used to create a double meaning. This is something that Eminem is notorious for, he uses this to create a very visceral image of the theme of the song. While using double entendre he uses it to lighten the mood with opposite meanings.
People start to show up, time to start the show upIt's 10:05 PM and the curtain starts to go upAnd I'm already sweatin', but I'm locked and loadedFor rapid fire spittin' for all the concert-goersScopes for sniper vision, the surprise from out of nowhereAs I slide the clip in from inside the hotelLeanin' out the window, going Keyser SözeFinger on the trigger, but I'm a licensed ownerWith no prior convictions, so the law says the sky's the limitSo my supply's infinite, strapped like I'm a soldierGot 'em hopping over walls and climbing fencesSome of them John Travolta, staying alive by inches(Hello, darkness, my old friend)Cops are knockin', oh fuck, thought I blocked the entranceGuess show time is overNo suicide note, just a note for target distanceBut if you'd like to know the reason why I did thisYou'll never find a motive, truth is I have no ideaI am just as stumped, no signs of mental illnessJust tryin' to show ya the reason why we're so fucked'Cause by the time it's over, won't make the slightest difference
This entire verse towards the end of the song accompanied by the visuals from the music video has a massive impact. The beginning of the song may sound like any other Eminem song but towards the end, it all comes together and makes sense as he is rapping from the perspective of the gunman at the LasVegas shooting. The meaning of the song becomes more clear as the video shows a deeper side to the song relaying visuals for the viewer to read deeper into the lyrics.
A review that I have watched really matched my opinions on the track itself. The song really matches the video perfectly and matched gun control. The reason why Eminem would use his platform to express his feelings about gun violence is that he wants a change. The video portrays that the gun law is deeper than just banning guns but banning them fro certain people. In the video, it is shown that the person doing the shooting has mental health issues and a drinking habit. These wouldn't have been accounted for when he was to get the guns. Eminem makes a big point of this and dedicates an entire verse to it along with footage in the music video to back his point. "Finger on the trigger, but I'm a licensed owner With no prior convictions, so the law says the sky's the limit So my supply's infinite, strapped like I'm a soldier Got 'em hopping over walls and climbing fences Some of them John Travolta, staying alive by inches" Especially the first line of the bar he is directly addressing the issue at hand along with footage to back it up.
Little Simz - 101 FM
101 FM is a song about Little Simz growing up and her story of making songs when she was younger. The video is shot mostly with a 4:3 aspect ratio with lots of grain and noise to make it seem like the footage is old and vintage. This style fits the themes of the song because Simz is reminiscing on her past and how she became who she is now. The video cuts between diegetic sound and non-diegetic sound. This makes the video more grounded in reality. Simz describes the upbringing of her life and how it has affected her music and the video helps portray this message.
Little Simz's music video for 101 FM has a very distinct tone, very nostalgic and rustic. This tone fits very well with the song as its all about reminiscing and looking back at what made you. The opening shot is of a film reel of some of her past, the lyrics match this same tone as she repeats what happened in her early life.
In the video, lots of non-diegetic sounds are used. In the video, cars will drive past the camera and they will be included in the video. Along with the onset sound that was caught of her rapping her lyrics. This makes the overall song feel more personal and low budget. If it had had a very big budget and a cinematic feel to it then it wouldn't of fit the tone, this links in well with the Andre Goodwin theory as the themes of the song fit very well with how the video was shot. Along with having a very nostalgic and reminiscing feel to it, there are also some moments where SImz is directly telling us about her life and even her mum adding more to the context of the song.
(Spinning em, spinning em, ay) Times I would get home late to my mumzie's crib "Simbi, who are you with? What have you done?
Where have you been?"
Shit (Damn)
Gorillaz - Feel Good Inc.
The first single to release off of their critically acclaimed Demon Days was Feel Good Inc. Gorillaz is the creation of Blur frontman Damon Albarn and artist Jamie Hewlett. They both have created a combination of genres and themes to create the Gorillaz. For Demon Days the main theme was a post-apocalyptic setting with some political influence, mainly focusing on the politics of war as this is something that Damon and Jamie wanted to explore with this album. The entire album itself is very low and has a mature tone to compliment the themes that it talks about. Damon and Jaime have evolved what was seen as a side project to be its own thing that needed to be respected and it did. Feel Good Inc's video has a very dark and dreary tone and the song compliments it. Although the song can be seen from an outsider as a happy song with all of the laughs and sound of the song the video contradicts someones first listen.
The opening shot is of a broken down and abandoned city, the location of the music video definitely fits the tone of both the song and the album. It's very gritty tone really makes the video stand out. The setting of the video is very important as the entire album is about war and the destruction of it upon society. This video is showing what it could be like without any clear motivation
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As the video goes on it consistently keeps this very dark tone as we make our way into the feel-good inc tower. The video style being Gorillaz is very unique as the entire video is animated and the fictional band members are performing the song live. While it has elements of live performance it definitely has some narrative as there is an ongoing story throughout the Gorillaz universe that is told through the videos. This is for a more active viewer that will watch the videos in-depth and listen to the song lots. You will find a story underlying and get more out of the video than a passive watcher.
At the same time as the video is very dark and frightening, the song breaks down into a calmer guitar riff that is played. This shows the progression of the song as well as the video. The visual look has changed to match the sound of the song. The colour pallet changes with the song tone. This makes the viewer a lot more emersed into the video and makes the song make more sense contextually. While the entire song has lots of contrast the video definitely keeps up with this contrasting formula. With this screenshot, you can clearly see the two different sections of the song portrayed with the colour pallet. One is very bright, calm and relaxed and the other being very dark and foreboding. Towards the end of the track the
I want the film to be about the obsession of one item, I want a character to be fixated on one thing and then eventually when they get it it wasn't worth the effort they went through to get it. Maybe, in the end, I will have the character see something else that grabs their attention and the cycle continues. I want the object to be something to be relatable, something that everyone has had a want for. Synopsis of Short film:
The main character will be minding his own business until he sees something that will change his life forever. Once he sees someone eating a green lollipop he has been consumed by the want for this particular sweet. he searches high and low for the green sweet but struggles to find the money and where to find them. Once he gets enough money to get the sweet he knows that he needs more. He works more, harder and uncontrollably to find a way to get more money to buy more of this specific candy. After eating all of the green lollipops he regrets the decision and becomes ill from the green lollipop consuming his life. Once experiencing the worst of the sweet he falls out of love with this object and returns back to the bench where we first see him. Once he sits back down we have the same shots as the beginning of the film and then replace the green lollipop with a chocolate bar and then the cycle continues.
Maybe have some found footage of an LSD type trip when he tries the lollipop to further reinforce the addiction he has to the lollipop. Maybe when he gets closer to the Lolipop he could have some more trips which represent that he is getting closer.
I found this online and it looks to be a good representation of what I want to have for the trippy sequence.
Some visual representations that have inspired me:
Black Mirror - Bandersnatch (2018)
Doctor Stange (2016)
Both of these scenes especially the Doctor Stange clip relays heavily on visual effects I will not be mimicking the visual effects used in this scene but the colours used. I really like the amount time is spent in these sequences, it really emphasises all of the colours used.
Some things I want to achieve when shooting: - the opening shot should be the main character minding their own business and then seeing the desired object and it consuming their thoughts and livelihood. Making it clear that its and over-exaggerated reality that the character is living in. - wanting something but ultimately when getting it doesn't end up being what expected - using something that is relatable to everyone - make it relatable to the younger audience so that its seen as more humorous than serious
- making sure that the main focus of the film is fixated on the wanted object - maybe use the rig? utilise the equipment at my disposal. - or keep it handheld so that it seems more grounded in reality - I want to challenge the technical side of the video and use some track wipes with people walking past the frame - for the psychedelic scene, I want to challenge my knowledge of colour correcting and change the visuals so that it's unique to the rest of the footage. Maybe having some stock footage mashed up together with my footage and blend them together.
- Maybe turn the opacity down on the stock footage and make it blend with my footage - I want there to be a variety of different shot types and angles - When shooting I want there to be multiple angles for the same shot, I will bring another camera to the shoot and get multiple shots of the same scene so I can but between them
For the music I want it to be really low key when it's just focused on the main character. I have chosen Mr Sandman as the song I use because it will fit the tone of the shot as it's very minimal and calm. I want the clothing for the main character to match the song and tone of the shot. I want neutral and muted colours for the main character.
When it's on the girl walking past to be more upbeat and maybe have cinematic bars and colour correction to represent the difference in feeling and emotion that these two characters have. I want her to be dressed in really bright colours and have a very bold colour, maybe green to represent lust and want.
Final film:
Evaluation: Overall I feel like the shots I got the film to look really nice and have a really good depth of field, it makes you focus on the characters and objects in the shot instead of the surroundings as they aren't important. I used a 70mm lens so that I had a natural shallow depth of field instead of using a regular lens and changing the f stop. Using this lens definitely helped with getting this effect. I got some really nice shots for the film with varying angles and I feel like it made the film better by having lots of alternative shot angles. I varied from establishing shots to a dutch angle. I also used them sparingly instead of putting them in there just for the sake of it. For example, I used the dutch angle in the film when the main character is looking at something squinting his eyes. I wanted to portray confusion in the shot and I feel like I had. Another thing that helped was having an extra person there to help to film. I got another camera to get some more angles for the same shot. I wanted to do this so that I could eliminate continuity while editing. Editing the film was fun but stressful at the same time because I didn't have enough film so I had to add stock footage to make the trippy sequence look good. I also feel like the trippy sequences could have been shorter and made more straight to the point instead of dragged on.
Sigmund Freud's theory is that there are three constant character traits in film and they are the id, ego and superego. They all have specific characters that learn off each other in the narrative. These three characters consist in any form of media with a narrative structure according to this theory. Sigismund Schlomo Freud was born on 6th May 1856 to Jewish parents, Amalia and Jakob Freud, in a part of the Austro-Hungarian Empire now in the Czech Republic. When Sigmund was three, the Freuds moved to Vienna. He excelled academically, developing a passion for literature, languages and the arts that would profoundly influence his thinking about the human mind. Freud became very interested in medical and scientific research and went on to study medicine at the University of Vienna. While studying, Freud developed a particular fascination with neurology, and later trained in neuropathology at the Vienna General Hospital. In 1885, Freud travelled to Paris to study at the Salpêtrière Hospital with Jean-Martin Charcot, a famous neurologist studying hypnosis and hysteria. Freud was deeply affected by Charcot’s work, and upon returning to Vienna he started using hypnosis in his own clinical work with patients.
The id is the impulsive part of our psyche which responds directly and immediately to basic urges, needs, and desires. The personality of the newborn child is all id and only later does it develop an ego and super-ego. The id remains infantile in its function throughout a person's life and does not change with time or experience, as it is not in touch with the external world. The id is not affected by reality, logic or the everyday world, as it operates within the unconscious part of the mind.
The ego develops to mediate between the unrealistic id and the external real world. It is the decision-making component of personality. Ideally, the ego works by reason, whereas the id is chaotic and unreasonable. The ego operates according to the reality principle, working out realistic ways of satisfying the id’s demands, often compromising or postponing satisfaction to avoid negative consequences of society. The ego considers social realities and norms, etiquette and rules in deciding how to behave.
The superego consists of two systems: The conscience and the ideal self. The conscience can punish the ego by causing feelings of guilt. For example, if the ego gives in to the id's demands, the superego may make the person feel bad through guilt. The ideal self (or ego-ideal) is an imaginary picture of how you ought to be and represents career aspirations, how to treat other people, and how to behave as a member of society.
In 1923 Freud published his important paper, 'The Ego and the Id'. Here he further developed and elucidated his model of the human mind, introducing his ‘Superego-Ego-Id’ formulation to supersede the 'conscious-preconscious-unconscious' structure described in The Interpretation of Dreams. In this year Freud also discovered a pre-cancerous growth in his jaw, certainly caused by his regular and liberal consumption of cigars. He nonetheless found himself unable to give them up, and likened his addiction to them to his obsessional collecting of antiquities. The growth later turned into cancer and would ultimately cause his death sixteen years later. Fight Club:
The Id in this scene immediate gratification strives for pleasure. This is something that you can visually see in both these characters as once Pitt shows the pleasure to Norton's character. Both seek for personal desire in this scene and give it to one and other as what they want is the same. They influence off each other, later on in the film we discover that these two are the same person and if you go back and look at them you can notice there similarities and piece together the puzzle.
The ego being Nortons character at the beginning of the scene refers to Pitts character going against his desire of being hit by Norton. Eventually, the Ego gives in and the Id takes over both of them, they both have a want and they both give into these wants. Later in this scene, Norton says to Pitt "We should do this again" This reinforces that the Ego is now gone and the Id has essentially taken over them both. The superego is at the beginning of the scene where Norton's character is in denial after being hit by Pitt.
As the scene progresses it is clear that this emotion leaves and the Id takes over as they both want to fight and that's what they pursue, not caring about anything that gets in their way. This shows the character to be mentally unstable as he can't control these three important feelings. They should be a balance with each other instead of predominantly being the Id.
Laura Mulvey:
Laura Mulvey had the main theory called the male gaze, the male gaze is when the camera is seen through the male eyes. Typically directors during the time of the theory's creation were male and this would make women in some instances seem over-sexualised by the camera. Her theory had been influenced by Sigmund Freud and Jacques Lacan which helped boost her essays into the public eye and elevate her theory. Mulvey states that she intends to use Freud and Lacan's concepts of 'the 'political weapon'. She argues that the classical Hollywood cinema has the majority male audience and this, in turn, inspired the male gaze. She states that the motivated camera movements and angles in movies suggest that the shot could over sexualise in certain situations.
Laura Mulvey interview:
Another Gaze – Could you start by telling me a little about what was latterly termed your ‘cinephile period’, before your involvement in the theorising of and making of films? Laura Mulvey – I was born in 1941 and lived in the countryside for the whole of the war so I didn’t see any films until I came back to London at the age of six. Because of this, I remember the first films I ever saw quite clearly. I think the first was Nanook of the North [Robert J. Flaherty, 1922], because my father was from the far North of Canada and was interested in Inuit culture. The other films that stand out very vividly for me, from the early fifties, are Michael Powell and Emeric Pressburger’s The Red Shoes [1948] and Jean Renoir’s The River [1951]. I sometimes think that it’s because I didn’t see many films in my childhood that these two films are indelibly marked on my cinematic unconscious. My genuinely cinephile days started when I left university and started going to the cinema with a group of friends, including Peter Wollen. These friends were all influenced by the Cahiers du Cinéma, so that marked a shift into an adoration of Hollywood, and of those directors that the Cahiers had sanctified as part of the ‘politique des auteurs’. That took up a great deal of my time in the sixties… Going to see films that weren’t so current but hadn’t fallen out of currency, and the National Film Theatre was beginning to show retrospectives, and we were going to Paris, the Cinémathèque and any of the cinemas on the Left Bank, and building up as much of a knowledge of Hollywood cinema as we could. Along with her consistent push of the male gaze and how prominent it is she also pushes feminism, here is an interview on both of these theories:
'Woman as image, man as bearer of the look' - Laura Mulvey
You deconstruct the male gaze out of the text instead of the intent being there when filming it. Example of the Laura Mulvey theory: Transformers (2007):
In the film, transformers, there are plenty of shots that could be considered over sexualising Megan Foxes character. The male gaze is something that can be seen as a very prominent feature in the film. As well as having over-sexualised characters in one of the films there are two characters that are overly racist towards each other. The male gaze is probably the most prominent problem especially the first film. The average shot length for a film like transformers would be not very long as its an action film with lots happening, with these scenes the shot length is very long and lingers on the character.
The beginning of the scene you get a mid-shot of Mikaela as she walks away from view, she is wearing a very short skirt and a tight top. The choice in clothing can indicate a sense of lust and desire by Sam. We then get a close-up reaction shot of Sam as he gets in his car and gets his friend out to pick up Mikaela. The desire that Sam has for her shows as he tells his friend to leave so that she can get in the car. Once Sams friend is out of the car he drives towards her and talks to her. During this, the song that is playing is a very slow and romantic song that pushes the ideology of Sam liking her.
We then get a shot of Sam looking at Mikaela through his window and she is angled in a very over the sexual way. The male gaze is in full effect that this point as both the camera and the character are objectifying Mikaela through the window, along with the romantic music it helps reinforce this ideology. When she gets into the car she describes her ex and he is a big football player and Sam wants the become this so that he can win over Mikaela. he then flexes on her with his bicep to win her over. As a big muscular person would be the stereotype that a girl like Mikaela would go for this reinforces this ideology. We get more of these shots where they linger on Mikaela later on in this scene. These shots reinforce the idea that we see films through the male eye and the camera is just a males viewpoint. Especially, in this case, Transformers has plenty of these shots that are objectifying Mikaela
Jacques Lacan:
The mirror stage: when a baby sees themselves in a mirror for the first time they see that as the ideal person and try and live up to. essentially you try and live up to someone that your not. It's an imaginary order that you try and live up to even if you will never achieve it.
Here is a good video that explains the theory well:
Medically trained as a psychiatrist, Lacan’s first texts started appearing in the late 1920s (during the course of his psychiatric studies), with his publishing activity really taking off in the subsequent decade. The 1930s see several early Lacanian milestones: the publication, in 1932, of his doctoral thesis in psychiatry, De la psychose paranoïaque dans ses rapports avec la personnalité (On Paranoid Psychosis in its Relations with the Personality); collaborations with the Surrealist and Dadaist artistic movements in whose midsts he circulated as a familiar fellow traveler; entry into analytic training, including a didactic analysis with Rudolph Lowenstein; attendance at Alexandre Kojève’s renowned seminars on G.W.F. Hegel’s Phenomenology of Spirit; the first presentation of the now-famous theory of the “mirror stage” at the International Psychoanalytic Association (IPA) conference at Marienbad in 1936 (a presentation truncated by Freud’s friend and biographer, then-IPA President Ernest Jones); and, the appearance, in the Encyclopédie française in 1938, of a substantial essay on a sizable swathe of analytic topics entitled Les complexes familiaux dans la formation de l’individu: Essai d’analyse d’une fonction en psychologie (“The Family Complexes in the Formation of the Individual: Attempt at an Analysis of a Function in Psychology”). This crucial period of Lacan’s development, as the immediately preceding already indicates, was marked by the collision of interests and influences related to psychoanalysis, psychiatry, philosophy, art, and literature, among other areas. More specifically, the robustly interdisciplinary combination that came together for Lacan at this time of Freudian analysis, Hegelian dialectics, Kojèvian pedagogy, and different experiences of “madness” from numerous perspectives indelibly colours and permanently inflects the entire rest of Lacan’s intellectual itinerary.
The account of the mirror stage is perhaps Lacan’s most famous theoretical contribution (maybe even more famous than the well-known thesis apropos the unconscious as “structured like a language”). Initially developed in the 1930s, this account involves a number of interrelated ingredients. Lacan offers the narrative of this stage as an explanation specifically for the genesis and functions of the Freudian psychical agency of the ego (Ich, moi). One of the psychoanalytic and philosophical upshots of the mirror stage, a crucial one in Lacan’s eyes, is that the ego is an object rather than a subject. In other words, the ego, despite conscious senses to the contrary, is not a locus of autonomous agency, the seat of a free, true “I” determining its own fate. This portrait of the ego-as-object is at the heart of Lacan’s lifelong critical polemics against Anglo-American ego psychology, with the ego psychologists seeking to strengthen their patients’ egos by appealing to supposed autonomous and “conflict-free” sides of these psychical agencies. Against this, Lacan views the ego as thoroughly compromised and inherently neurotic to its very core, as a passionate defence of a constitutive ignorance of the unconscious.
Example of Jaques Lacan theory:
The Wolf Of Wall Street (2013):
1:15 - 2:33
Jacques Lacan's theory also states that you are born with a lack of something and it gives you a want to fulfil it. You will never be satisfied and there will forever be a lack in your life and never be fulfilled. You are driven by desire and will never achieve that desire. Everyone is born with a lack and a desire to fill that empty space. Jordan Belford is never satisfied with himself. He forever wants more and more, this inevitably ends with him in prison by him stopping at nothing to get what he wants.
At the beginning of this scene, Jordan is listing all drugs he does and that the amount he does a day would seduce the whole of Manhatten and Queens for a month. This shows the character of Jordan Belford is very sedated all the time and is the kingpin of his business. Jordan wants more drugs, money and or sex throughout the film. Jordan describes money as his favourite drug and this apparent. Later on, in the scene, he is describing that money is the only thing he wants more of. You can tell from his reckless behaviour that he has money to spare and he doesn't care about anything except making more money.
Jordan's ideology of life is that money can buy everything you want. He is more about the materialistic things money can buy he's all about showing off his money in every way possible. Towards the end of the film, his addiction gets to the point where he risks his wife's, friend and his life for the security of his money. He keeps on taking risks throughout the film and this mistake changes him as he nearly dies. He decided to take a yacht through the very rough sea and his yacht gets wrecked and people got killed. Inevitably he was putting other people at risk for his benefit yet he has enough money to sustain himself for his life and more. The want for more money is constant throughout the film but during this part, in particular, he doesn't see it as the worth is. At this point, it's too late and he is arrested not long after.
All References:
Suddenly, a Woman Spectator: An Interview with Laura Mulvey, Another Gaze: A Feminist Film Journal
