. Episode 4, Series E
. Quiz show
. Host- Stephen Fry, panelists - Alan Davies, Bill Bailey, Sean Lock, Rich Hall
. The relationship between Stephen Fry is like a schoolboy and a teacher; the teacher always tries to teach the right thing, but the the schoolboy interrupts him and says obvious things that are not correct.
. The facts about Mount Everest and the first words spoken by explorers were quite interesting, along with the Mannequin bird than could moonwalk.
. The simpleness of Alan's buzzer compared to the others. The very dry comedy of Rich Hall. The banter between Bill Bailey and Sean Lock. The improvised singing that happens between the panelists. Alan Davies setting off the klaxon twice in a row.
. He recounts the entire story of the man who traveled all over the world and became fluent in English
. They are active because they clap along with the panelists when they start singing
. He is the 'genial fall guy' and answers the questions in the way the audience would themselves have answers, making him easy to relate to.
. It fulfills all three of these ideas as it makes us laugh (Entertainment), teaches us about exploration (education) and tells us how to correctly say mount Everest among other things (inform).
. The audience are positioned as powerless because they have no input on the answers to the questions that are asked, so we can assume that they are not omniscient because they are never questioned.
Thursday, 12 January 2017
Sunday, 8 January 2017
Miranda audience pleasures
I have chosen to analyse the audience pleasures of watching Miranda (BBC 1). I will give specific examples by close reference to episodes and by quotation.
Miranda is mainstream family viewing, aimed at a target audience who would relate to middle class life. Miranda is a TV sitcom:socially inept Miranda always gets into awkward situations when working in her joke shop with best friend Stevie, being hounded by her pushy mother, and especially when she is around her crush Gary.
A comprehensive review of all four BBC TV channels by the governing trust (July 2014) found that BBC 1 could feel “middle class in focus and target audience" with Miranda cited as an example. They also found that the BBC is falling out of favour with younger people and BAME (black, Asian and minority ethnic viewers). The average age of BBC1 viewers is 59, compared with 56 in 2010/11. However, the character of Miranda is also quite like a big child as she is unmarried, always making a fool of herself and getting into trouble with her mother, so I think that audiences such as young adults could relate to her. Audiences also relate to her relationship with her best friend Stevie because their relationship is very similar to the way most people interact with their friends.
Miranda offers the pleasures of the sitcom genre, such as characters that are recognizable that the audience can relate to, who are stereotypes. Miranda's mother, for example, is stereo-typically posh and even draws draws attention to it in the program. Miranda's mother makes us laugh because she is what everybody thinks a posh person would be like and treats her daughter like a piece of property than a person. Miranda's group of girl friends are stereotypes. For example, they are always at fancy dinner parties and talk in a very posh accent. Her girl friends often make us laugh at Miranda, such as in the episode when her friends call her "the Tarzan of cakes". However, in many ways, Miranda is an anti-stereotype because she is not the typical lead actor of a sitcom, she is very tall with short and she is not very lady-like.
There are many points of recognition for middle class audiences in the ways in which the sitcom addresses audience’s lifestyles, concerns, hopes, such as Miranda's conflict with her mother as when she tells Miranda to "not tell anyone you're my daughter". Another narrative strand that makes audiences relate to her is her troubled love life. For example her best friend tells her that she does not have the "allure to attract men with".
Each episode also features predictable running gags such as, for example, Miranda always has a long conversation with her mother. Miranda also always manages to lose her clothing, such as in the episode when she locked inside a park at night, and takes of her top to try and get through a gap in the gates but gets stuck. Stevie and Miranda always compete for boyfriends, such as the episode when they find wallet that was left in their shop. They proceed to go to his self-defence class to try and find him but when he eventually arrives at their shop he leaves quickly then begin to ask him awkward questions. Miranda always embarrasses her friends socially, such as The flashback in episode 6 series 1, where she laughs at the wrong moment during a party, making it obvious that she doesn't know what is going on.
The sitcom addresses audience’s lifestyles, concerns, hopes about relationships. Miranda always fails to explain her true feelings for Gary, such as when she finds out he is going to Hong Kong. Instead of telling him how she feels, she makes up a ridiculous story to explain what she was talking about. She competes with, quarrels and makes up with Stevie, for example, when Stevie tells her that she is not attractive. She gets scolded by her mother, such as in the episode when her mother says "You haven't been blessed by the goddess of socializing"
In most sitcoms, the audience is passive consumer but this show is filmed before a live studio audience. In addition, Miranda establishes a relationship with her audience by breaking the 4th wall. She confides in us, the audience her feelings, saying: "Whatever they (the wiles) are, I've got no idea"
For Blumler and Katz, audiences use media to gratify needs (the uses and gratifications model of audience behaviour). Miranda offers the pleasure of entertainment, escapism and diversion by making us laugh. In particular, both slapstick humour and verbal humour entertain us. Examples of these include: when Miranda kicks the tray of food out of the waiter's hand, when she is taken down by all the members of the self-defence class and when her and Stevie are discussing "The Allure".
Audiences also like to relate to the characters in programmes; I have shown that Miranda offers many points of recognition in its characters. It s also important that Miranda is a likeable character who does not hold grudges. For example, she becomes friends with Stevie very quickly after she says that Miranda is not attractive. Audiences pick programmes with actors that they know and like. It is also significant that Miranda Hart is a well-known comedian.
Audiences tend to favour programmes that support their values and their sense of their own identity. Part of our sense of self is informed by making judgements about all sorts of people and things. This is also true of judgements we make about TV and film characters, and celebrities. The shows we watch, the stars we like can be an expression of our identities. One aspect of this type of gratification is known as value reinforcement. This is where we choose television programmes or newspapers that have similar beliefs to those we hold. Therefore, equally important is the upbeat, comic atmosphere of the show. Despite set-backs such as Stevie revealling that she kept her dog Miranda bounces back by revealling that she kept her's too.
Finally, audiences like to know what is going on in the world (surveillance). This relates to Maslow’s need for security. By keeping up to date with news about local and international events we feel we have the knowledge to avoid or deal with dangers. In a sitcom, the characters face all sorts of situations that we can experience vicariously, some of which are challenging, such as how to act correctly during social events.
In conclusion, Miranda is a successful TV comedy because it satisfies all of our needs. The characters are easy to relate to, it contains stereotypes and it supports our values.
Miranda is mainstream family viewing, aimed at a target audience who would relate to middle class life. Miranda is a TV sitcom:socially inept Miranda always gets into awkward situations when working in her joke shop with best friend Stevie, being hounded by her pushy mother, and especially when she is around her crush Gary.
A comprehensive review of all four BBC TV channels by the governing trust (July 2014) found that BBC 1 could feel “middle class in focus and target audience" with Miranda cited as an example. They also found that the BBC is falling out of favour with younger people and BAME (black, Asian and minority ethnic viewers). The average age of BBC1 viewers is 59, compared with 56 in 2010/11. However, the character of Miranda is also quite like a big child as she is unmarried, always making a fool of herself and getting into trouble with her mother, so I think that audiences such as young adults could relate to her. Audiences also relate to her relationship with her best friend Stevie because their relationship is very similar to the way most people interact with their friends.
Miranda offers the pleasures of the sitcom genre, such as characters that are recognizable that the audience can relate to, who are stereotypes. Miranda's mother, for example, is stereo-typically posh and even draws draws attention to it in the program. Miranda's mother makes us laugh because she is what everybody thinks a posh person would be like and treats her daughter like a piece of property than a person. Miranda's group of girl friends are stereotypes. For example, they are always at fancy dinner parties and talk in a very posh accent. Her girl friends often make us laugh at Miranda, such as in the episode when her friends call her "the Tarzan of cakes". However, in many ways, Miranda is an anti-stereotype because she is not the typical lead actor of a sitcom, she is very tall with short and she is not very lady-like.
There are many points of recognition for middle class audiences in the ways in which the sitcom addresses audience’s lifestyles, concerns, hopes, such as Miranda's conflict with her mother as when she tells Miranda to "not tell anyone you're my daughter". Another narrative strand that makes audiences relate to her is her troubled love life. For example her best friend tells her that she does not have the "allure to attract men with".
Each episode also features predictable running gags such as, for example, Miranda always has a long conversation with her mother. Miranda also always manages to lose her clothing, such as in the episode when she locked inside a park at night, and takes of her top to try and get through a gap in the gates but gets stuck. Stevie and Miranda always compete for boyfriends, such as the episode when they find wallet that was left in their shop. They proceed to go to his self-defence class to try and find him but when he eventually arrives at their shop he leaves quickly then begin to ask him awkward questions. Miranda always embarrasses her friends socially, such as The flashback in episode 6 series 1, where she laughs at the wrong moment during a party, making it obvious that she doesn't know what is going on.
The sitcom addresses audience’s lifestyles, concerns, hopes about relationships. Miranda always fails to explain her true feelings for Gary, such as when she finds out he is going to Hong Kong. Instead of telling him how she feels, she makes up a ridiculous story to explain what she was talking about. She competes with, quarrels and makes up with Stevie, for example, when Stevie tells her that she is not attractive. She gets scolded by her mother, such as in the episode when her mother says "You haven't been blessed by the goddess of socializing"
In most sitcoms, the audience is passive consumer but this show is filmed before a live studio audience. In addition, Miranda establishes a relationship with her audience by breaking the 4th wall. She confides in us, the audience her feelings, saying: "Whatever they (the wiles) are, I've got no idea"
For Blumler and Katz, audiences use media to gratify needs (the uses and gratifications model of audience behaviour). Miranda offers the pleasure of entertainment, escapism and diversion by making us laugh. In particular, both slapstick humour and verbal humour entertain us. Examples of these include: when Miranda kicks the tray of food out of the waiter's hand, when she is taken down by all the members of the self-defence class and when her and Stevie are discussing "The Allure".
Audiences also like to relate to the characters in programmes; I have shown that Miranda offers many points of recognition in its characters. It s also important that Miranda is a likeable character who does not hold grudges. For example, she becomes friends with Stevie very quickly after she says that Miranda is not attractive. Audiences pick programmes with actors that they know and like. It is also significant that Miranda Hart is a well-known comedian.
Audiences tend to favour programmes that support their values and their sense of their own identity. Part of our sense of self is informed by making judgements about all sorts of people and things. This is also true of judgements we make about TV and film characters, and celebrities. The shows we watch, the stars we like can be an expression of our identities. One aspect of this type of gratification is known as value reinforcement. This is where we choose television programmes or newspapers that have similar beliefs to those we hold. Therefore, equally important is the upbeat, comic atmosphere of the show. Despite set-backs such as Stevie revealling that she kept her dog Miranda bounces back by revealling that she kept her's too.
Finally, audiences like to know what is going on in the world (surveillance). This relates to Maslow’s need for security. By keeping up to date with news about local and international events we feel we have the knowledge to avoid or deal with dangers. In a sitcom, the characters face all sorts of situations that we can experience vicariously, some of which are challenging, such as how to act correctly during social events.
In conclusion, Miranda is a successful TV comedy because it satisfies all of our needs. The characters are easy to relate to, it contains stereotypes and it supports our values.
Sunday, 6 November 2016
Call sheet
Shoot date: Friday 11th November 2016
Location:
Claremont Fan Court
School
Portsmouth Road
Esher
Surrey
KT10 9LY
Crew:
Crew:
Ross Paul 04RossP@claremont.surrey.sch.uk
Ellie Morris 04ElanorM@claremont.surrey.sch.uk
Camera Equipment:
. Camera
. Batteries
. Dolly
. Tripod
. Camera case
Lighting equipment:
. Light stands
. Spare bulbs
Props:
. Fake syringe
. File full of papers
Wardrobe: Main Character
Outfit – school uniform eg white shirt, black skirt, black shoes
Monday, 10 October 2016
Planning our treatment
07. 10. 2016 PLANNING: OUR TREATMENT
To write a treatment for our film we watched Frank Ash's video on what audiences want and how to structure a treatment.
- "So, if you’re aiming for your film to reach a large audience online, making sure it has universal appeal will be key. We’ll be thinking about this in more practical terms later in the week, but let’s bring Frank Ash’s points together with the last step’s concerns:
- Think about your favourite book or film or any ‘good story’ you recently watched online, could you sum up its narrative into ‘one elegant sentence’ to provide its ‘topline’?
- What was its big story question, and how important was it to your appreciation of the text?"
Video © BBC, Text © University of Birmingham.
Top line: During routine injections a girl discovers secret information about what they are being tested on and is taken away by the head of the drug corporation.
The
big question: What happens to the subjects? What did the girl see? What are they going to do the girl?
Subject 45
A
line of school pupils in a waiting area chat as they roll up their
sleeves ready for their routine injections by the school nurse. One by
one they go across and get their treatment
and leave. The atmosphere is relaxed. One girl, bored, peers behind a
screen and notices a pile of files. Idly, she leafs through them and
stops dead in her tracks when she sees something that disturbs her. A
hand on her shoulder prevents her looking further.
She is led away. Cross cut to the school principal on the phone
reassuring someone that the trial of 45 children is not compromised.
Cross cut to the girl struggling. Sound bridge: “There is one little
issue that we are taking care of and I assure that it’s
under our control. The girl in question will be sedated overnight.” Over
the shoulder shots reveal information about ‘big pharma’ and identity
photographs of pupils. Cross cut to POV shots of what the girl is seeing
as she lies bound on a treatment table /
bed gazing fuzzily at the ceiling. The light is swinging and her vision
is blurred. Her eyes slowly close. TITLE appears:
The girl’s eyes snap open and she gasps.
Tuesday, 4 October 2016
Question 2 part 2
Editing
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
Question 2 part 2
Editing
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
Question 2 part 2
Editing
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
One use of editing in the opening scene is the use of Bullet-time. This an effect where time slows to match the speed of bullets, but the camera moves at normal speed. The matrix introduced the bullet-time effect into cinema and is now one of the most famous editing tricks in the world. In this sequence, bullet time is used when Trinity is attacking the police officers. This is the first sign that the main characters have special abilities as no normal human could pull off such an incredible feat. The bullet-time shows trinity in what looks like a martial arts pose, about to kick the officer, this shows us her incredible skill and agility and gives a reason to support her as she is outnumbered but is still winning the battle against the police.
Another use of editing is at around 1 minute into the scene. We see a huge amount of numbers scrolling down across the screen as each one eventually turns into a single number at the top of each column. The camera slowly zooms in to a gap in the top line of numbers, it is only the last moment of the section that a 0 fills in the gap. At this point something very strange happens to the numbers, they all morph into much larger versions and the camera travels through an impossible gap in the middle of the 0, showing us what looks like an infinite amount of something that could be files. This suggests that the numbers we are seeing are more than just numbers, they actually hold huge amounts of information and they seem to be the way the characters are communicating.
Soundtrack
The line "No Lieutenant, your men are already dead" is extremely ominous and is spoken by the main Agent. The fact that he says it so calmly and at such an even volume adds to the strange and unnatural aura that surrounds the character. It is also a very clear sign that he has some sort of special power, as he already knows that the police officers will be dead before seeing any of them and before trinity even begins attacking them. This also suggests that the Agent has had a long history with Trinity as he knows her powers and how deadly she is.
There is very little music during the scene where the police officers enter the building and all that can be heard is their footsteps. This is because the police are trying to be as quiet and stealthy as possible, in order not to alert the target to their presence. The very quiet music builds up tension and makes the audience feel quite nervous because all they have to focus on is the grimy walls of the building and the strange noises that occasionally swell loudly in the soundtrack. This makes the breaking down of the door seem even more extreme than it actually is, because it is very loud and is the only noise that we have heard in quite some time.
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