Prison Break, season 1, focuses on two brothers: Michael Scofield and Lincoln Burrows. Lincoln has been wrongfully convicted of the murder of the Vice President's brother. Facing the chair, and knowing that the evidence aganist his brother doesn't add up, Michael commits a crime to get thrown into prison with his brother and plan out an elaborate escape. Episode 13, The Rat, comes right after a failed escape plan and Lincoln must now be executed. This scene chronicles Lincoln's long walk to the chair and the cliffhanger ending to the episode. The shots in the walkway in the prison to the death chamber room are darkly lit with only a few lighting to show the characters. While everyone is wearing dark colors, Lincoln is wearing a bright white t-shirt to make him stand out. Shots 24-58 are quick flashback shots before Lincoln goes to the death chamber room. These scenes have a very different lighting scheme to them then the other shots. These shots seem to be more grittier looking, almost as if the shots are distorted. Most of the flashback shots involving Lincoln are very dark, except one shot of him reading a letter from his son, L.J. All other shots in flashbacks involving Michael, Veronica, or L.J. are very brightly lit to signify their importance to him. All the shots in this scene are very quick cuts to seem as if it's one continous action.
Shot 1: Lincoln walks down the hallway followed by three guards, the warden, Michael, and Veronica, Lincoln's ex-girlfriend. The shot starts out in medieum and then gets into a close up as Lincoln passes the camera.
Shot 2: Close up of the hallway floor. Lincoln's feet cross a yellow line. The camera then pans up to Bellick, one of the guards, who turns to Veronica and Lincoln stops to see them talking.
Shot 3: Over Veronica's shoulder, a medieum shot of Bellick explaining to Veronica that she can't go past the line and that she will be escorted to the vieweing area.
Shot 4: Over Bellick's shoulder, a medieum shot of Veronica, almost in tears. She looks over at Lincoln.
Shot 5: Close up of Lincoln. He looks at Veronica and then down at the ground.
Shot 6: Close up of Veronica. She's trying to say something and then finally asks to say goodbye to Lincoln
Shot 7: Over Veronica's shoulder, medieum shot of Bellick who steps back to allow Veronica across the line. The camera follows behind Veronica as she goes over to Lincoln.
Shot 8: Medieum shot of Michael as he watches Veronica walk ove to Lincoln
Shot 9: Medieum shot from the left angle of Veronica who's again trying to say something to Lincoln but her emotions are getting the best of her.
Shot 10: Medieum shot, just from the right angle Veronica hugs Lincoln.
Shot 11: Close up of Veronica face over the shoulder of Lincoln. She whispers to him that she loved him from the firs time she saw him.
Shot 12: Close up of Lincoln over the shoulder of Veronica. He just nods.
Shot 13: Close up of Veronica's face as she lets go of Lincoln. The shot goes from close up to medieum as the camera stays on Lincoln but shows Veronica going back over the line. Michael is holding out his hands as the warden asks Bellick to uncuff him.
Shot 14: Medieum shot of Bellick uncuffing Michael.
Shot 15: Close up of Lincoln watching Michael.
Shot 16: Close up that starts showing Michael's uncuffed hands and then pans up to Michael as he's looking at the ground as he walks past the line. The camera doesn't follow him, it shows us Veronica, still overwhelmed with emotion.
Shot 17: Medieum shot of Michael, still looking at the ground as he walks over to Lincoln.
Shot 18: Medieum shot of Michael hugging his brother.
Shot 19: Close up of Michael, over Lincoln's shoulder. Michael begins to quietly sob
Shot 20: Close up of Lincoln, over Michael's shoulder. His eyes are closed, chin on top of Michael's shoulder.
Shot 21: Close up of Michael, still hugging his brother, trying to fight back his tears. He lets go of his brother and walks back.
Shot 22: Medieum shot of Michael getting his handcuffs back on. Warden walks past Lincoln and instructs him to continue.
Shot 23: As Warden passes him, we go into a medium shot of Lincoln turning to where Warden is walking with his head down.
Shot 24: A close up. This is a quick flashback of Lincoln outside of prison, handling two guns. Witht a voice over we hear Lincoln telling Michael that he didn't kill anyone.
Shot 25: Close up. Still in flashback, now in a parking garage, we see a bullet hole in a man's neck in his car
Shot 26: Close up of Lincoln holding the gun, shocked.
Shot 27: Medieum shot of the eletric chair. The camera pushes in as the guards get it ready
Shot 28: Close up of Michael in flashback, behind a fence. He's looking at Lincoln and telling him preperation can only take you so far.
Shot 29: Close up of Lincoln in a dark room, lights a match towards his face
Shot 30: Close up of Lincoln holding a little black pill
Shot 31: Medieum shot of Linocln quickly putting the pill in his mouth
Shot 32: Long shot of paramedics wheeling Lincoln down a hallway in a strecher
Shot 33: Medieum shot of Lincoln in pain in the strecher
Shot 34: Long shot. Outside of the prison, time is sped up from night to day.
Shot 35: Medieum shot of Veronica kissing Lincoln with the voice over of her telling him not to give up on her
Shot 36: Long shot of Lincoln in solitary, with his head leaned aganist the wall. It's compelty dark except for one ray of light coming onto Lincoln's head.
Shot 37: Close up of Lincoln at a much younger age. He puts his hand on a younger Michael's shoulder and tells him to have a little faith.
Shot 38: Close up of Michael in prison, putting his hand on Lincoln's shoulder and tells him to have a little faith
Shot 39: Medieum shot. Lincoln's in solitary. It pans from him aganist the wall down to two hands holding the holy bible
Shot 40: Close up, in Lincoln's house he talks to his young son L.J. about having breakfast
Shot 50: Close up of young L.J. nodding
Shot 51: Medieum shot of L.J. touching his father's hand. They're seperated by the gates in prison
Shot 52: Close up of teenager L.J. with Lincoln's voice over telling him to have faith
Shot 53: Close up of Michael smiling in prison
Shot 54: Close up of Veronica by the window in her apartment
Shot 55: Close up of teenager L.J.
Shot 56: Close up of Lincoln in Solitary reading a letter
Shot 57: CLose up of the letter that reads I love you with L.J. voice over the words. The lighting is very bright white light, compared to the other dark shots in solitary.
Shot 58: Close up of Lincoln in solitary. It's back to being very dark. His face is looking at the ground as he mouths a prayer.
Shot 59: Ending the flashback shots, Lincoln's head tilts up and in a medieum shot he starts to walk again.
Shot 60: Mediuem shot of Michael and Veronica watching him go
Shot 61: Close up of Lincoln looking in a room
Shot 62: Medieum shot showing Lincoln is looking at the chair
Shot 63: Medieum shot. Over Lincoln's shoulder, he looks back at Michael and Veronica
Shot 64; Close up of Lincoln look at them
Shot 65: Medieum shot back to the room with the chair and Lincoln in the background. The scene quickly cuts to black as the end credits come on.
-Chris Bergeris
Wednesday, October 15, 2008
Fargo Decoupage: Decoupage #2
Fargo Decoupage:
In this scene the two hitmen are pulled over after kidnapping Jerry Lundegard's wife. The cop goes through a conversation with the driver, Carl Showalter (Busecemi) about not having his temporary tags on his new car. After a tense back and forth, the passenger (Stormare), shoots the cop in the head when he asks Showalter to step out of the vehicle when he becomes suspicious.
Shot 1: A tilt of a large Paul Bunyan statue, at the end of the tilt the car enters the frame.
Wide shot
Normal lens
Tilt
High Key
Loose Framing
Straight Cut
Shot 2: Steve Buscemi looking back at the kidnapped woman
Close up
Normal Lens
No Movement
Low Key
Tight Framing
Straight Cut
Shot 3: The kidnaped passenger covered in a blanket
Close up
No Movement
Normal Lens
Low Key
Tight Framing
Straight Cut
Shot 4: The Passenger reprimanding the noisy victim
Close up
Normal Lens
No movement
High key
Loose framing
Straight cut
Shot 5: Buscemi responding
Close up
Normal Lens
No Movement
Low Key
Tight Framing
Straight Cut
Shot 6: Passenger look of recognition
Close up
Normal Lens
No movement
High key
Loose framing
Straight cut
Shot 7: Buscemi looking in the rear view noticing the police light shining into the car
Close up
Normal Lens
No Movement
High Key
Tight Framing
Straight Cut
Shot 8: A shot in the rear view mirror showing the police coming up
Wide shot
Normal lens
No movement
Low Key
Loose Framing
Straight Cut
Shot 9: Buscemi spooked:
Close up
Normal Lens
No Movement
High Key
Tight Framing
Straight Cut
Shot 10: Passenger noticing the police:
Close up
Normal Lens
No movement
High key
Loose framing
Straight cut
Shot 11: The police car again seen in the mirror now much closer
Wide shot
Normal lens
No movement
High Key available light
Tight Framing
Straight Cut
Shot 12: Buscemi assuring the passenger everything will be ok
Close up
Normal Lens
No Movement
High Key
Tight Framing
Straight Cut
Shot 13: The passenger seeing for himself
Close up
Normal Lens
No movement
High key
Loose framing
Straight cut
Shot 14: The police car sitting behind them with lights flahsing
Medium Shot
Normal Lens
No movement
High key available light
Tight framing
Straight cut
Shot 15: Buscemi looking back at the car
Close up
Normal Lens
No Movement
High Key
Tight Framing
Straight Cut
Shot 16: The car again
Medium Shot
Normal Lens
No movement
High key available light
Tight framing
Straight cut
Shot 17: Buscemi telling the passenger to keep quiet
Medium shot
Normal lens
No movement
Low key
Loose Framing
Straight Cut
Shot 18: Passenger stare
Medium shot
Normal lens
No movement
High key (light from car)
Tight framing
Straight cut
Shot 19: Buscemi assuring him he will take care of it
Medium shot
Normal lens
No movement
Low key
Loose Framing
Straight Cut
Shot 20: Continued stare
Medium shot
Normal lens
No movement
High key (light from car)
Tight framing
Straight cut
Shot 21: Cop getting out of his car
Medium Shot
Normal Lens
No movement
High key available light
Tight framing
Straight cut
Shot 22: Buscemi waits anxiously
Medium shot
Normal lens
No movement
Low key
Loose Framing
Straight Cut
Shot 23: shot in the side view mirror, the cop approaching with flashlight
Close up
Normal Lens
No movement
High key available (flashlight and head lights)
Tight Framing
Straight cut
Shot 24: Buscemi greets the officer as he walks into frame:
Medium shot
Normal lens
No movement
Low key
Loose Framing
Straight Cut
Shot 25: The officer shines his flashlight on the passenger's face
Medium shot
Normal lens
No movement
High key available (flashlight)
Tight framing
Straight cut
Shot 26: The officer looks around the car as Buscemi waits
Medium shot
Normal lens
No movement
High key available
Loose Framing
Straight Cut
Shot 27: Shot of Buscemi from officer's POV shining flashlight on him
Medium shot
Normal Lens
No movement
High key available
Tight framing
Straight cut
Shot 28: Buscemi talking to cop
Medium shot
Normal lens
No movement
High key available
Loose Framing
Straight Cut
Shot 29: two shot of Buscemi and passenger as Buscemi gets out his license
Medium two shot
Normal lens
Tilt at the end focusing on his license that he has handed over
High key available
Loose framing
Straight cut
Shot 30: Officer examining the license as Buscemi waits
Medium shot
Normal lens
No movement
High key available
Loose Framing
Straight Cut
Shot 31: Passenger waiting fearfully
Medium shot
Normal lens
No movement
High key (flashlight)
Tight framing
Straight cut
Shot 32: Cop suspicious
Medium shot
Normal Lens
No movement
High key available
Tight framing
Straight cut
Shot 33: Hands him back his wallet, asking him to step out of vehicle
Medium shot
Normal lens
No movement
Low key available
Loose Framing
Straight Cut
Shot 34: Buscemi takes his wallet back panicking
Medium two shot
Normal lens
No Movement
High key available
Loose framing
Straight cut
Shot 35: Buscemi looks to passenger desperately
Medium shot
Normal lens
No movement
Low key available
Loose Framing
Straight Cut
Shot 36: Quick cut to passenger
Medium shot
Normal lens
No movement
High key (flashlight)
Tight framing
Straight cut
Shot 37: Cop peers into the car with flashlight, seeing the backseat
Medium shot
Normal lens
No movement
Low key available
Loose Framing
Straight Cut
Shot 38: Cut to passenger reaching across Buscemi grabbing cop
Close up
Normal lens
No movement
High key (flashlight)
Tight framing
Straight cut
Shot 39: Passenger grabs cop by the head and slams it into the door frame
Medium shot (both character in frame and in focus)
Normal Lens
No movement
High key available (headlights)
Tight Framing
Straight Cut
Shot 40: Close up on passenger
Close up
Normal Lens
No Movement
High key available
Tight framing
Straight cut
Shot 41: Passenger reaching into glove box and grabbing the gun
Close up
Normal Lens
No movement
Low key available (light from within the glove box)
Tight framing
Straight cut
Shot 42: Passenger shoots cop in the top of the head
Medium shot
Normal lens
No movement
Low key available (headlights)
Loose Framing
Straight Cut
Shot 43: Buscemi's reaction with blood splattered face
Close up
Normal Lens
No Movement
Low Key
Tight framing
Straight Cut
Shot 44: Passenger's reaction
Close up
No Movement
Normal Lens
High key
Tight framing
Straight Cut
Shot 45: Passenger tosses cop backwards by his hair off the car:
Medium shot
Normal Lens
No movement
Low Key
Loose Framing Straight Cut
Shot 46: Passenger reaction again
Close up
No Movement
Normal Lens
High key
Tight framing
Straight Cut
Shot 47: Cut back to Buscemi with blood splattered face
Close up
Normal Lens
No Movement
Low Key
Tight framing
Straight Cut
Shot 48: Cut back to passenger, calmly smoking
Close up
Slight pan
Normal Lens
High key
Tight framing
Straight cut
Shot 49: Buscemi again
Close up
Normal Lens
No Movement
Low Key
Tight framing
Straight Cut
Shot 50: Passenger tells him to clear the cop off the road
Close up
No movement
Normal Lens
High key
Tight framing
Straight cut
Shot 51: Buscemi agrees
Close up
Normal Lens
No Movement
Low Key
Tight framing
Straight Cut
24 Season 5 Episode 1: "Day 5" 7:00am-8:00am Darnell Brown
Shot 1: Establishing wide shot of old shipping/oil rig yard. Mid-day.
Shot 2: Parallel editing shot of two old rigs moving up and down
Shot 3: Panning shot to reveal oil workers with hard hats standing waiting for work while boss yells out names. As the boss calls names, we dolly over to worker with hard hat on and his head down. He lifts his head. It's Jack Bauer. Boss says it's no work. (All a single shot)
Shot 4: Shot reverse shot of the boss and Jack talking about not getting work today. (Parallel Shot)
Shot 5: Close up shot of Jack face looking disappointed about not getting work today
Shot 6: Parallel shot of Jack walking away from camera and the boss also walking away from camera.
The entire scene lasted 1:47. Compared to the usual pace of "24" once the action starts, the editing for this scene was classic, heavy stylized effects with the parallel editing showing multiple angles of what's happening in the scene, but the pace was very slow to match the location, time of day and attitude of the scene. They were all straight cuts. The first thing we see are two oil rigs moving up and down in the air, very slowly. We see harsh sunlight that nearly covers all the characters' faces in the scene. Everything was set up to be a slow, depressing atmosphere and the slow pace of the editing matched it greatly.
Created by: Dat Dude aka "The Other Black Guy" ska "Oh..D" but most people call him Darnell Brown
Shot 2: Parallel editing shot of two old rigs moving up and down
Shot 3: Panning shot to reveal oil workers with hard hats standing waiting for work while boss yells out names. As the boss calls names, we dolly over to worker with hard hat on and his head down. He lifts his head. It's Jack Bauer. Boss says it's no work. (All a single shot)
Shot 4: Shot reverse shot of the boss and Jack talking about not getting work today. (Parallel Shot)
Shot 5: Close up shot of Jack face looking disappointed about not getting work today
Shot 6: Parallel shot of Jack walking away from camera and the boss also walking away from camera.
The entire scene lasted 1:47. Compared to the usual pace of "24" once the action starts, the editing for this scene was classic, heavy stylized effects with the parallel editing showing multiple angles of what's happening in the scene, but the pace was very slow to match the location, time of day and attitude of the scene. They were all straight cuts. The first thing we see are two oil rigs moving up and down in the air, very slowly. We see harsh sunlight that nearly covers all the characters' faces in the scene. Everything was set up to be a slow, depressing atmosphere and the slow pace of the editing matched it greatly.
Created by: Dat Dude aka "The Other Black Guy" ska "Oh..D" but most people call him Darnell Brown
Tuesday, October 14, 2008
It's Always Sunny in Philadelphia- Anisha Payne
The Gang Finds a Dumpster Baby
It's Always Sunny in Philadelphia is about group of friends running a Bar. Season 2 Episode 1 is about Mac and Dee finding a Dumpster Baby.
Commercial
Wide Shot of Mac, Dee and the Baby talking to a Child Acting Agent
Over the Shoulder(O.S.) Medium Shot of the Lady
Wide of Mac, Dee and the Baby talking
OS Medium of Lady talking
OS Med-Wide of Dee, Mac and the Baby
Med-Wide of Lady talking
Wide of Dee, Mac and the Baby
Tanning Shop
Wide of Location-Exterior
Medium of Employee
Wide of Dee, Mac, Baby and Employee
OS, Med of Employee
Medium of Dee, Mac, Baby and Employee
Riot outside
Wide of Riot
Medium of Male Activist talking
Wide of Dennis( The Poser, Member of the Gang)
Wide of Activist, his girlfriend, of Dennis from a OS
Center City
Wide of Frank and Charlie pushing trash
Longshot of them pushing cart full of trash
Strap on Tree
Wide of Tree and Activist
CU- Med of Activist on Tree
CU- Med to the left of Activist on Tree
Right Side of Activist talking
Left Side of Activist talking
Dennis Home
Zoom out of CU to Wide of Candles on Window
Dennis head comes into Frame
Dumpster
Wide of Charlie and Frank beside Dumpster
RightSide, CU of Charlie and Frank
LeftSide, CU of Charlie and Frank
Strap on Tree
Eyeline of Activist on Tree
Above Zoom out from CU of Activist on Tree
Dumpster
CU-Med. of Charlie and Frank
LeftSide of Frank and Charlie in Dumpster
RightSide of Frank and Charlie
Wide of Dumpster, Charlie Leaving
It's Always Sunny in Philadelphia is about group of friends running a Bar. Season 2 Episode 1 is about Mac and Dee finding a Dumpster Baby.
Commercial
Wide Shot of Mac, Dee and the Baby talking to a Child Acting Agent
Over the Shoulder(O.S.) Medium Shot of the Lady
Wide of Mac, Dee and the Baby talking
OS Medium of Lady talking
OS Med-Wide of Dee, Mac and the Baby
Med-Wide of Lady talking
Wide of Dee, Mac and the Baby
Tanning Shop
Wide of Location-Exterior
Medium of Employee
Wide of Dee, Mac, Baby and Employee
OS, Med of Employee
Medium of Dee, Mac, Baby and Employee
Riot outside
Wide of Riot
Medium of Male Activist talking
Wide of Dennis( The Poser, Member of the Gang)
Wide of Activist, his girlfriend, of Dennis from a OS
Center City
Wide of Frank and Charlie pushing trash
Longshot of them pushing cart full of trash
Strap on Tree
Wide of Tree and Activist
CU- Med of Activist on Tree
CU- Med to the left of Activist on Tree
Right Side of Activist talking
Left Side of Activist talking
Dennis Home
Zoom out of CU to Wide of Candles on Window
Dennis head comes into Frame
Dumpster
Wide of Charlie and Frank beside Dumpster
RightSide, CU of Charlie and Frank
LeftSide, CU of Charlie and Frank
Strap on Tree
Eyeline of Activist on Tree
Above Zoom out from CU of Activist on Tree
Dumpster
CU-Med. of Charlie and Frank
LeftSide of Frank and Charlie in Dumpster
RightSide of Frank and Charlie
Wide of Dumpster, Charlie Leaving
Fifth Post - McGuirk
Brothers & Sisters - Season 1 - Episode 1
"Patriarchy"
Brothers & Sisters is a show about a mother, Sally Field, and her five adult children of a Los Angeles-based family who come together because of the sudden death of their father.
Scene 1
Shot 1 - Establishing shot of downtown LA.
Shot 2 - Medium shot of Kitty in bathtub talking to her sister, Sarah on the phone.
Shot 3 - Long shot of Sarah's home; children and husband, Joe, in the background.
Shots 4-6 - Reverse shots between Kitty and Sarah talking on the phone. Medium close-ups.
Shot 7 - Reverse angle on Joe from the Dining Room.
Shot 8-13 - Reverse shots between Kitty and Sarah on phone. Medium close-ups.
Shot 14 - Close-up on burnt food in oven to Kitty raising dinner. Medium shot.
Shot 15 - Jump cut to Kevin, their brother, in his office. Long shot.
Shot 16-19 - Reverse shots between Kevin and Kitty talking on the phone. (17) Reaction shot of Kevin to what Kitty has said.
Shot 20 - Medium shot of Kitty answering door. She talks to the person.
Shot 21 - Eyeline match of Kitty to her boyfriend at the door.
Shot 22-24 - Medium reverse shots between the two of them.
Shot 25 - Long shot of the two of them collapsing on the bed. Black screen.
"Patriarchy"
Brothers & Sisters is a show about a mother, Sally Field, and her five adult children of a Los Angeles-based family who come together because of the sudden death of their father.
Scene 1
Shot 1 - Establishing shot of downtown LA.
Shot 2 - Medium shot of Kitty in bathtub talking to her sister, Sarah on the phone.
Shot 3 - Long shot of Sarah's home; children and husband, Joe, in the background.
Shots 4-6 - Reverse shots between Kitty and Sarah talking on the phone. Medium close-ups.
Shot 7 - Reverse angle on Joe from the Dining Room.
Shot 8-13 - Reverse shots between Kitty and Sarah on phone. Medium close-ups.
Shot 14 - Close-up on burnt food in oven to Kitty raising dinner. Medium shot.
Shot 15 - Jump cut to Kevin, their brother, in his office. Long shot.
Shot 16-19 - Reverse shots between Kevin and Kitty talking on the phone. (17) Reaction shot of Kevin to what Kitty has said.
Shot 20 - Medium shot of Kitty answering door. She talks to the person.
Shot 21 - Eyeline match of Kitty to her boyfriend at the door.
Shot 22-24 - Medium reverse shots between the two of them.
Shot 25 - Long shot of the two of them collapsing on the bed. Black screen.
"Mean Girls" Ferraro
"Mean Girls"
(2004) Mark Waters
In the beginning, where Cady, Janis, and Damion are sitting outside in the "back building"...
1) Establishing shot: School field. The three walking across the field; natural, outdoor lighting, dim and represents tranquility of outside; dollying sideways as they're coming closer.
2) Medium close-up of Damion, doesn't get why Cady is taking calculus.
3) Medium close-up of Cady, explaining
4) Reverse shot back to Damion; he understands now: "It's beautiful."
5) Quick shot- tableau - They stop walking and Damion and Janis sit to the ground, while Cady looks around.
6) Medium close-up of Cady: Back of her head; she's searching: "Where's the building?"
7) High-angle medium-shot of Janis and Damion sitting on the ground. "It burnt down."
8) Reverse shot of Cady, confused at their answer, and worried they will be in trouble."
9) Reverse shot; Janis and Damion. "We're friends."
10) Reverse shot; Cady looking back at school, then back down at Janis and Damion (off screen), with voice-over narrative in background. She is making her decision.
11) Reverse shot of first tableau: Cady sits down with her friends. Low-key lighting (they're sitting in shadows)
12) Jump Cut: Classroom: Health Class.
13) Wide-Angle shot of health teacher, frame pushes in.
14) Medium-wide shot-cut on teacher, explaining the seriousness of "having sex will kill you."
15) Wide-angle shot: Students. Frame pushes in.
16) Close-up on teacher, finishing his lecture.
17) Medium-shot: Teacher; holds up a box of rubbers.
18) Jump Cut: Back to Cady, Janis, and Damion, sitting in field.
(2004) Mark Waters
In the beginning, where Cady, Janis, and Damion are sitting outside in the "back building"...
1) Establishing shot: School field. The three walking across the field; natural, outdoor lighting, dim and represents tranquility of outside; dollying sideways as they're coming closer.
2) Medium close-up of Damion, doesn't get why Cady is taking calculus.
3) Medium close-up of Cady, explaining
4) Reverse shot back to Damion; he understands now: "It's beautiful."
5) Quick shot- tableau - They stop walking and Damion and Janis sit to the ground, while Cady looks around.
6) Medium close-up of Cady: Back of her head; she's searching: "Where's the building?"
7) High-angle medium-shot of Janis and Damion sitting on the ground. "It burnt down."
8) Reverse shot of Cady, confused at their answer, and worried they will be in trouble."
9) Reverse shot; Janis and Damion. "We're friends."
10) Reverse shot; Cady looking back at school, then back down at Janis and Damion (off screen), with voice-over narrative in background. She is making her decision.
11) Reverse shot of first tableau: Cady sits down with her friends. Low-key lighting (they're sitting in shadows)
12) Jump Cut: Classroom: Health Class.
13) Wide-Angle shot of health teacher, frame pushes in.
14) Medium-wide shot-cut on teacher, explaining the seriousness of "having sex will kill you."
15) Wide-angle shot: Students. Frame pushes in.
16) Close-up on teacher, finishing his lecture.
17) Medium-shot: Teacher; holds up a box of rubbers.
18) Jump Cut: Back to Cady, Janis, and Damion, sitting in field.
5th Post: Run Lola Run
Director: Tom Tykwer
“Run Lola Run” is about a girl on a pressing mission to save her boyfriend, Manni.
In the beginning of the movie after she gets off the phone with Manni, she frantically knows time is of the essence and must find a way to get $100,000 in less than 20 minutes or else Manni dies.
Scene: Lola's room
Shot 1: CU of Lola’s face
Shot 2: CU of Manni’s face
The scene cuts back and forth for a while as their conversation gets more intense and heated to the point that Manni is freaking out on the phone to Lola. The cuts are fast paced running parallel with the rising urgency of their conversation.
Shot 3: Cuts to a bird’s eye view; medium shot of Lola looking up as she screams, “Shut up!”
Shot 4: Then jump cuts 3 times to Lola’s face—her mouth open in a long and piercing scream. This shot extends the urgency and peak of Lola’s scream.
Shot 5: Then cuts to a medium shot of a tv set and the glass bottles resting on top shatter.
Shot 6: Low-angle shot of windows—shades are half drawn and crooked.
Shot 7: Medium shot of Lola’s wall; camera zooms in on a blown up Polaroid of her and Manni
Shot 8: Continuity shot zooms in on a close up of a cluster of plastic dolls leaning against a wall.
Shot 9: Floor level shot of Lola’s shoes and her plaid green pants in foreground while a pet turtle walks across the screen.
Shot 10: Extreme CU of Lola’s face
Shot 11: CU of Manni’s face—peering from outside the phone booth
Shot 12: Medium CU of Lola
Shot 13: Long shot of yellow telephone booth Manni is in. Bolle store and buildings are in the background. Telephoto lens shot.
Shot 14: Medium CU of Manni in phone booth as his face turns away from camera and looks toward the spiral bar in the background.
Shot 15: Different medium CU of Manni’s profile as he turns away from camera again but looks across the road at the Bolle store.
Shot 16: Extreme CU of Lola’s face as she tells Manni she’ll be there in 20 minutes and for him to stay put.
Shot 17: Manni’s POV from phone booth; medium long shot of Bolle store. The frame is intersected by the phone booth door to place the viewer in Manni’s shoes as he is planning on robbing the store.
Shot 18: Low-angle, CU of Manni’s face
Shot 19: Extreme CU of Lola’s face
Shot 20: Low-angle CU of Manni’s face
Shot 21: CU of Manni’s lower back as he reaches for his gun and pulls it out
Shot 22: Continuity cutting to Bird’s eye view of the top of Manni’s head looking at the gun in his hand while Lola is trying to convince him to not rob the store.
Shot 23: CU of Manni as he concludes he is going to rob the store.
Shot 24: Medium shot of Lola
Shot 25: Low-angle CU of Manni’s face
Shot 26: Extreme CU of Lola’s face
Shot 27: Eye Level CU of Manni
Shot 28: CU of Lola’s profile
Shot 29: CU of Manni’s face
Shot 30: Medium CU of Lola
Shot 31: Medium CU of Manni
Shot 32: Long shot of Bolle store building; the focal point is the clock
Shot 33: Medium CU of Manni
Shot 34: CU of phone card sticking out of its slot
Shot 35: CU of Manni’s face looking down
Shot 36: Bird’s eye view of Manni’s head as he puts the gun back into the back of his pants and rests his arms over the telephone.
Fast cut montage sequence of Lola and her swirling thoughts on who to get help from. Techno trance music begins and the tempo of the editing syncs with the beats.
All the shots consist of low key lighting to bring out shadows of Lola’s face, and the menacing clock dictating every second of her lover’s life. The following montage plays with expanding the time of Lola throwing the phone receiver and her frantic search for help in her mind.
Shot 37: zooms in on a medium shot of tv set; line of dominoes are falling
Shot 38: zooms in on a medium CU of Lola’s profile as she turns her face toward the camera. Her eye line is looking toward something.
Shot 39: zooms in on a medium shot of a clock hanging on her wall
Shot 40: fast zooms on medium shot of Lola’s face; her eye line facing the clock.
Shot 41: cuts back to a medium shot of the clock; jump cuts closer to the clock to go with the tempo of the techno-trance beat
Shot 42: medium shot of Lola tossing the phone receiver in the air
Shot 43: medium shot of red phone swirling in slow motion toward the left of frame
Shot 44: Medium CU of red receiver in slow motion floating across the left of frame
Shot 45: CU of red receiver still floating
Shot 46: short zoom in on medium shot of tv set with dominoes still falling
Shot 47: Jump cuts to extreme CU of dominoes falling
Shot 48: CU of red phone receiver falling vertically down
Shot 49: Jump cuts to bird’s eye view; medium shot of receiver hovering over the phone body.
Shot 50: Medium shot of Lola framed in the center thinking of who to go to for help; arms down next to her side
Shot 51: Jump cut of same medium shot; hands next to her temples and her eyes closed.
Shot 52: Jump cut as camera is slowly zooming in; medium shot at eye level
Shot 53: Jump cuts to CU of Lola; she is still centered in the frame; her hands in her hair; low key lighting
Shot 54: Jump cuts back to medium shot of Lola; hands still at her temple
Shot 55: Cuts to medium shot of Lola; hands in her hair and eyes open
Shot 56: Cuts back to medium shot of Lola; hands next to her temples; eyes closed again
Shot 57: medium shot of Lola centered in frame; hands back in her hair, eyes open
Shot 58: medium CU of Lola; hands back on her temple; eyes closed
Shot 59: medium CU of Lola; hands in her hair; eyes open
Shot 60: CU of Lola; hands in her forehead; eyes closed
Shot 61: CU of Lola; hands next to her temples; eyes closed then open
Shot 62: CU of Lola; hands in her hair; eyes open
Shot 63: CU of the base of red phone as the receiver falls on top of it
Shot 64: Cartoon of a bald man with glasses and suit slides into the foreground of frame and reaches to the left of frame for a wipe transition leading to the next shot.
Tom Tyker's usage of tempo editing to go along with the beat of music explored the spatial and temporal aspect of Lola and her mission to rescue Manni. Tykwer was able to use narrative continuity editing to go along with the several ways of Lola rescuing Manni which was cleverly planned to go with the underlying domino effect. This is shown through her various encounters with the same people and obstacles throughout her race against time.
-Star Brown
“Run Lola Run” is about a girl on a pressing mission to save her boyfriend, Manni.
In the beginning of the movie after she gets off the phone with Manni, she frantically knows time is of the essence and must find a way to get $100,000 in less than 20 minutes or else Manni dies.
Scene: Lola's room
Shot 1: CU of Lola’s face
Shot 2: CU of Manni’s face
The scene cuts back and forth for a while as their conversation gets more intense and heated to the point that Manni is freaking out on the phone to Lola. The cuts are fast paced running parallel with the rising urgency of their conversation.
Shot 3: Cuts to a bird’s eye view; medium shot of Lola looking up as she screams, “Shut up!”
Shot 4: Then jump cuts 3 times to Lola’s face—her mouth open in a long and piercing scream. This shot extends the urgency and peak of Lola’s scream.
Shot 5: Then cuts to a medium shot of a tv set and the glass bottles resting on top shatter.
Shot 6: Low-angle shot of windows—shades are half drawn and crooked.
Shot 7: Medium shot of Lola’s wall; camera zooms in on a blown up Polaroid of her and Manni
Shot 8: Continuity shot zooms in on a close up of a cluster of plastic dolls leaning against a wall.
Shot 9: Floor level shot of Lola’s shoes and her plaid green pants in foreground while a pet turtle walks across the screen.
Shot 10: Extreme CU of Lola’s face
Shot 11: CU of Manni’s face—peering from outside the phone booth
Shot 12: Medium CU of Lola
Shot 13: Long shot of yellow telephone booth Manni is in. Bolle store and buildings are in the background. Telephoto lens shot.
Shot 14: Medium CU of Manni in phone booth as his face turns away from camera and looks toward the spiral bar in the background.
Shot 15: Different medium CU of Manni’s profile as he turns away from camera again but looks across the road at the Bolle store.
Shot 16: Extreme CU of Lola’s face as she tells Manni she’ll be there in 20 minutes and for him to stay put.
Shot 17: Manni’s POV from phone booth; medium long shot of Bolle store. The frame is intersected by the phone booth door to place the viewer in Manni’s shoes as he is planning on robbing the store.
Shot 18: Low-angle, CU of Manni’s face
Shot 19: Extreme CU of Lola’s face
Shot 20: Low-angle CU of Manni’s face
Shot 21: CU of Manni’s lower back as he reaches for his gun and pulls it out
Shot 22: Continuity cutting to Bird’s eye view of the top of Manni’s head looking at the gun in his hand while Lola is trying to convince him to not rob the store.
Shot 23: CU of Manni as he concludes he is going to rob the store.
Shot 24: Medium shot of Lola
Shot 25: Low-angle CU of Manni’s face
Shot 26: Extreme CU of Lola’s face
Shot 27: Eye Level CU of Manni
Shot 28: CU of Lola’s profile
Shot 29: CU of Manni’s face
Shot 30: Medium CU of Lola
Shot 31: Medium CU of Manni
Shot 32: Long shot of Bolle store building; the focal point is the clock
Shot 33: Medium CU of Manni
Shot 34: CU of phone card sticking out of its slot
Shot 35: CU of Manni’s face looking down
Shot 36: Bird’s eye view of Manni’s head as he puts the gun back into the back of his pants and rests his arms over the telephone.
Fast cut montage sequence of Lola and her swirling thoughts on who to get help from. Techno trance music begins and the tempo of the editing syncs with the beats.
All the shots consist of low key lighting to bring out shadows of Lola’s face, and the menacing clock dictating every second of her lover’s life. The following montage plays with expanding the time of Lola throwing the phone receiver and her frantic search for help in her mind.
Shot 37: zooms in on a medium shot of tv set; line of dominoes are falling
Shot 38: zooms in on a medium CU of Lola’s profile as she turns her face toward the camera. Her eye line is looking toward something.
Shot 39: zooms in on a medium shot of a clock hanging on her wall
Shot 40: fast zooms on medium shot of Lola’s face; her eye line facing the clock.
Shot 41: cuts back to a medium shot of the clock; jump cuts closer to the clock to go with the tempo of the techno-trance beat
Shot 42: medium shot of Lola tossing the phone receiver in the air
Shot 43: medium shot of red phone swirling in slow motion toward the left of frame
Shot 44: Medium CU of red receiver in slow motion floating across the left of frame
Shot 45: CU of red receiver still floating
Shot 46: short zoom in on medium shot of tv set with dominoes still falling
Shot 47: Jump cuts to extreme CU of dominoes falling
Shot 48: CU of red phone receiver falling vertically down
Shot 49: Jump cuts to bird’s eye view; medium shot of receiver hovering over the phone body.
Shot 50: Medium shot of Lola framed in the center thinking of who to go to for help; arms down next to her side
Shot 51: Jump cut of same medium shot; hands next to her temples and her eyes closed.
Shot 52: Jump cut as camera is slowly zooming in; medium shot at eye level
Shot 53: Jump cuts to CU of Lola; she is still centered in the frame; her hands in her hair; low key lighting
Shot 54: Jump cuts back to medium shot of Lola; hands still at her temple
Shot 55: Cuts to medium shot of Lola; hands in her hair and eyes open
Shot 56: Cuts back to medium shot of Lola; hands next to her temples; eyes closed again
Shot 57: medium shot of Lola centered in frame; hands back in her hair, eyes open
Shot 58: medium CU of Lola; hands back on her temple; eyes closed
Shot 59: medium CU of Lola; hands in her hair; eyes open
Shot 60: CU of Lola; hands in her forehead; eyes closed
Shot 61: CU of Lola; hands next to her temples; eyes closed then open
Shot 62: CU of Lola; hands in her hair; eyes open
Shot 63: CU of the base of red phone as the receiver falls on top of it
Shot 64: Cartoon of a bald man with glasses and suit slides into the foreground of frame and reaches to the left of frame for a wipe transition leading to the next shot.
Tom Tyker's usage of tempo editing to go along with the beat of music explored the spatial and temporal aspect of Lola and her mission to rescue Manni. Tykwer was able to use narrative continuity editing to go along with the several ways of Lola rescuing Manni which was cleverly planned to go with the underlying domino effect. This is shown through her various encounters with the same people and obstacles throughout her race against time.
-Star Brown
Night of the Living Dead - Elyse Stefanowicz
Night of the Living Dead (1968)
Directed by - George A. Romero
When zombies start attacking a small town, Barbara runs to a farm house for cover. There she meets several other people who are hiding from the attack. They find out it's a world wide epidemic and are to await further instructions. After a couple failed attempts of saving themselves, the people in the house start dying one by one and turn into zombies. The next morning, Ben, the sole survivor thinks hes being rescued but ends up getting a surprise of his own.
Scene description - When Ben comes in from chasing some zombies, he starts looking for nails and boards to board up the house. He tries to snap Barbara out of being scared by asking her to help. They are in the kitchen talking.
1 - Medium shot, normal lens, a slight tilt of the camera, low key high contrast lighting, relatively loose framing, no movement through axis, straight cut to next shot
2 - close up of barbara, normal lens, no movement, low key high contrast, tight framing, no movement through axis, cut to next shot
3 - medium shot, normal lens, pan, low key high contrast lighting, in the middle of the scene--ben turns on a light changing the light to high key low contrast, loose framing, movement through axis, cut to next shot
4 - medium shot, normal lens, no movement, high key low contrast, loose framing with another frame in the frame, movement through the axis, cut
5 - medium shot, normal lens, slight pan, high key low contrast, loose framing, movement out of the shot and through the axis, cut
6 - medium shot, normal lens, slight zoom at end of shot, high key low contrast, loose framing, no movement through axis, cut
7 - medium long shot, normal lens, no movement, high key low contrast, loose framing, no movement through axis, cut
8 - close up of drawer, normal lens, tilt of camera, high key low contrast, tight framing with another frame in shot, movement of hand through drawer, cut
9 - medium shot, normal lens, no movement, high key low contrast, tight framing, no movement through axis, cut
10 - medium shot, normal lens, slight pan of camera, high key low contrast, loose framing, movement through the axis, cut
11 - medium close up, normal lens, slight pan, high key low contrast, tight framing, no movement until end of shot, cut
12 - shot reverse shot of Ben and Barbara, medium shot, normal lens, no movement, high key low contrast, tight framing, movement through axis in beginning of shot, cut
13 - shot reverse shot - Barbara, medium shot, normal lens, no movement, high key low contrast, tight framing, no movement through axis, cut
14 - exact same as 12 - shot reverse shot
15 - exact same as 13 - shot reverse shot
16 - same as 12, except concludes scene by Barbara walking out of shot and through axis.
Directed by - George A. Romero
When zombies start attacking a small town, Barbara runs to a farm house for cover. There she meets several other people who are hiding from the attack. They find out it's a world wide epidemic and are to await further instructions. After a couple failed attempts of saving themselves, the people in the house start dying one by one and turn into zombies. The next morning, Ben, the sole survivor thinks hes being rescued but ends up getting a surprise of his own.
Scene description - When Ben comes in from chasing some zombies, he starts looking for nails and boards to board up the house. He tries to snap Barbara out of being scared by asking her to help. They are in the kitchen talking.
1 - Medium shot, normal lens, a slight tilt of the camera, low key high contrast lighting, relatively loose framing, no movement through axis, straight cut to next shot
2 - close up of barbara, normal lens, no movement, low key high contrast, tight framing, no movement through axis, cut to next shot
3 - medium shot, normal lens, pan, low key high contrast lighting, in the middle of the scene--ben turns on a light changing the light to high key low contrast, loose framing, movement through axis, cut to next shot
4 - medium shot, normal lens, no movement, high key low contrast, loose framing with another frame in the frame, movement through the axis, cut
5 - medium shot, normal lens, slight pan, high key low contrast, loose framing, movement out of the shot and through the axis, cut
6 - medium shot, normal lens, slight zoom at end of shot, high key low contrast, loose framing, no movement through axis, cut
7 - medium long shot, normal lens, no movement, high key low contrast, loose framing, no movement through axis, cut
8 - close up of drawer, normal lens, tilt of camera, high key low contrast, tight framing with another frame in shot, movement of hand through drawer, cut
9 - medium shot, normal lens, no movement, high key low contrast, tight framing, no movement through axis, cut
10 - medium shot, normal lens, slight pan of camera, high key low contrast, loose framing, movement through the axis, cut
11 - medium close up, normal lens, slight pan, high key low contrast, tight framing, no movement until end of shot, cut
12 - shot reverse shot of Ben and Barbara, medium shot, normal lens, no movement, high key low contrast, tight framing, movement through axis in beginning of shot, cut
13 - shot reverse shot - Barbara, medium shot, normal lens, no movement, high key low contrast, tight framing, no movement through axis, cut
14 - exact same as 12 - shot reverse shot
15 - exact same as 13 - shot reverse shot
16 - same as 12, except concludes scene by Barbara walking out of shot and through axis.
Torchwood Season 1 Episode 11
Torchwood - Season 1
Episode 11: "Combat"
Torchwood is a British science fiction television show created as a spin off of the Doctor Who series. Torchwood's base is located in Cardiff, Wales, since there is a rift in time and space going through the city. Aliens and generally nasty creatures are constantly being drawn to and sometimes coming out of the rift, making its protection an important task for the Torchwood team: Captain Jack Harkness, P.C. Gwen Cooper, Dr. Owen Harper, computer scientist Toshiko Sato, and Agent Ianto Jones.
Scene: After recovering from a vicious attack by an alien called a Weevil, Dr. Owen Harper visits some of the Weevils being detained in the Torchwood facility vaults to test out his new-found sense of fearlessness.
Shot 1: EXTERIOR. Cut in, Normal lens, high key/low contrast, natural light (sun), long shot of the Torchwood base, camera zooms in hard and pans down from the sky
Shot 2: INTERIOR. Normal lens, low key/high contrast, motivated lighting (fluorescent ceiling lights), camera starts as a long take of Owen and Ianto entering through the vault door then dollies into a medium-long shot of the characters from the chest up (stacking of Ianto and Owen from left to right), depth of field: we can see through the open door in the background past the wall. Ianto backs out and exits behind Owen, and shuts the door behind him. We pan with Owen as he moves further into the room to get a better look at the Weevil.
Shot 3: Cut to the Weevil's cell: normal lens, low key/high contrast, motivated lighting (same), still panning as the Weevil comes in for a close up
Shot 4: Cut back to Owen as we begin tracking to follow him, medium shot
Shot 5: Cut back to the Weevil; we are looking over Owen's shoulder as he shifts into the framing via rule of thirds on the right side of the screen
Shot 6: We are tracking as Owen's face moves into better lighting, still a medium shot
Shot 7: Cut back to the Weevil
Shot 8: Cut back to Owen and the camera stops tracking as Owen stops walking. We move out a little and Owen is perfectly on the right side, rule of thirds
Shot 9: Cut to a close up of the Weevil
Shot 10: Cut to a medium shot of Owen and we begin to dolly in closer; suddenly, the camera begins to tilt and the horizon goes dutch to reflect Owen's conflicting emotions of tenacity and confusion
Shot 11: Cut and we see the Weevil over Owen's shoulder -- the horizon is normal again and the Weevil cries out in fear and begins backing away from the cell door
Shot 12: Cut to a close up of the Weevil as it retreats into the shadows, low key/high contract, we pan with it and the camera begins to tilt off into a dutch horizon again
Shot 13: Cut to a close up of Owen's face and the horizon is dutch from a different angle, the music swells eerily, and we fade out.
As we pan and track with Owen, he follows along the Z-Axis moving from right to left, and then from left to right as he gets closer to the Weevil's cell.
Episode 11: "Combat"
Torchwood is a British science fiction television show created as a spin off of the Doctor Who series. Torchwood's base is located in Cardiff, Wales, since there is a rift in time and space going through the city. Aliens and generally nasty creatures are constantly being drawn to and sometimes coming out of the rift, making its protection an important task for the Torchwood team: Captain Jack Harkness, P.C. Gwen Cooper, Dr. Owen Harper, computer scientist Toshiko Sato, and Agent Ianto Jones.
Scene: After recovering from a vicious attack by an alien called a Weevil, Dr. Owen Harper visits some of the Weevils being detained in the Torchwood facility vaults to test out his new-found sense of fearlessness.
Shot 1: EXTERIOR. Cut in, Normal lens, high key/low contrast, natural light (sun), long shot of the Torchwood base, camera zooms in hard and pans down from the sky
Shot 2: INTERIOR. Normal lens, low key/high contrast, motivated lighting (fluorescent ceiling lights), camera starts as a long take of Owen and Ianto entering through the vault door then dollies into a medium-long shot of the characters from the chest up (stacking of Ianto and Owen from left to right), depth of field: we can see through the open door in the background past the wall. Ianto backs out and exits behind Owen, and shuts the door behind him. We pan with Owen as he moves further into the room to get a better look at the Weevil.
Shot 3: Cut to the Weevil's cell: normal lens, low key/high contrast, motivated lighting (same), still panning as the Weevil comes in for a close up
Shot 4: Cut back to Owen as we begin tracking to follow him, medium shot
Shot 5: Cut back to the Weevil; we are looking over Owen's shoulder as he shifts into the framing via rule of thirds on the right side of the screen
Shot 6: We are tracking as Owen's face moves into better lighting, still a medium shot
Shot 7: Cut back to the Weevil
Shot 8: Cut back to Owen and the camera stops tracking as Owen stops walking. We move out a little and Owen is perfectly on the right side, rule of thirds
Shot 9: Cut to a close up of the Weevil
Shot 10: Cut to a medium shot of Owen and we begin to dolly in closer; suddenly, the camera begins to tilt and the horizon goes dutch to reflect Owen's conflicting emotions of tenacity and confusion
Shot 11: Cut and we see the Weevil over Owen's shoulder -- the horizon is normal again and the Weevil cries out in fear and begins backing away from the cell door
Shot 12: Cut to a close up of the Weevil as it retreats into the shadows, low key/high contract, we pan with it and the camera begins to tilt off into a dutch horizon again
Shot 13: Cut to a close up of Owen's face and the horizon is dutch from a different angle, the music swells eerily, and we fade out.
As we pan and track with Owen, he follows along the Z-Axis moving from right to left, and then from left to right as he gets closer to the Weevil's cell.
Review - Editing List
Hot Rod - 2007
Writer: Pam Brady
Director: Akiva Schaffer
Hot Rod follows Rod, a young man who's dream is to be a stuntman, like his father, who died during a stunt gone wrong years ago. But when his step father Frank is on his death bed and Rod won't be able to beat him in a fair fight before he dies, Rod enlists the help of his screw up friends to raise $50,000 to get Frank a new heart so he can get better and Rod can finally fight him. It's hilarious.
The scene I broke down is one where Rod is in his room reminiscing about his father and trying to find the answers about what his purpose is in life, until his younger half-brother Kevin barges in.
Shots
1. high key lighting, character is moving in 2 axis from doorway to his bed and plops down, normal lens, medium shot, camera is tracking with Rod, loose framing
2. cut to photo on wall, high key lighting, tight framing, close shot, no character in shot, camera is stationary, normal lens
3. cut to toy motorcycle on desk, high key lighting, medium shot, normal lens, no character in shot, camera is stationary, loose framing
4. cut to poster of flaming car, high key lighting, tight framing, close shot, no character in shot, camera stationary, normal lens
5. cut to poster of Yo-Yo Ma reading Goodnight Moon, high key lighting, tight framing, close shot, no character in shot, camera stationary, normal lens
6. cut to Rod lying on bed in foreground, reaches under pillow and grabs photo, camera is on dolly, high key lighting, loose framing, medium shot, normal lens
7. cut to photo of Dad with Evil Knievel, normal lens, no character, camera stationary, close shot, tight framing, normal lens, high key lighting
8. cut to Rod on bed, somewhat low key lighting, normal lens, camera on dolly, medium shot, somewhat tight framing, character not moving
9. cut to photo of Dad and Evil Knievel, extreme close shot, normal lens, tight framing, camera stationary, no character in shot
10. cut to close shot of Rod's face, tight framing, close shot, normal lens, somewhat low key lighting, camera stationary, character not moving
11. cut to Rod at medium shot, loose framing, normal lens, somewhat low key lighting, character moving in 2 axis, camera stationary, then in background door opens and character enters
12. cut to Rod's face yelling and crying, loose framing, medium shot, high key lighting, camera stationary, character in foreground not moving, normal lens
13. cut to Kevin in doorway shutting door, character in foreground moving in 2 axis, loose framing, medium shot, camera stationary, high key lighting, normal lens
cut to next scene
Boondock Saints
Brian Herron
The Boondock Saints (2001)
Director:
The Boondock Saints is a film set in
The scene that will be reviewed here is when the saints, along with their Italian-American friend, go to the house of a hit-man who works for the Italian Mafia and kill him along with a group of his poker buddies. It starts out with Willem Dafoe at the crime scene of the shooting that is about to take place. Throughout the scene, Dafoe narrates..
Shot 1: Establishing shot of Dafoe and a group of Police officers at the crime scene.
Shot 2: Cut to a pan of guns on the street and shattered glass that are being investigated.
Shot 3: Cut to a pan of blood on the front of the house being investigated.
Shot 4: Cut to a zoom of Dafoes face as he takes in the chaos around him.
Shot 5: Cut to a medium shot of a group of police officer, then a second later Dafoe stands up into the frame.
Shot 6: Cut to a close up of a line of cops opening up their notepads.
Shot 7: White Dissolve into the saints loading their guns inside a van then pans to Dafoe who is sitting in one of the seats as he narrates what’s going on, however the viewer realizes that Dafoe is not their in reality even though he is being physically shown in the scene.
Shot 8: Cut to saints getting out of the van running towards the house.
Shot 9: Cut to saints opening up the garage, walking in, and then closing the garage.
Shot 10: Cut to saints making the victims wife open a secret door while the camera zooms out. Then the camera zooms back in to Dafoe as he narrates and everything else in the shot is motionless. This is the longest shot in the scene.
Bad Boys II - Editing
Bad Boys II
Director: Michael Bay
Screenwriter: Ron Shelton & Jerry Stahl
Scene “MacArthur Causeway Chase” – Detective Marcus Burnett and Detective Mike Lowry are pursuing criminals in a red truck. While the criminals in the red truck are shooting at Marcus, Mike, the police, and Syd (another detective). Marcus and Mike are trying to get rid of the criminals, also trying to save Syd from the criminal’s wrath.
*A P.O.V. shot of Syd driving
*A long shot of the freeway
*A close up of the criminal in a red truck shooting
*A medium shot of the criminal shooting at a Syd’s car
*Close up of Syd dodging in and out of traffic
*Close up of Mike driving through traffic on the freeway
*A tracking shot of Mike driving
*P.O.V. shot from the police chasing the red truck
*Pan shot of the truck
*Medium shot of the criminal shooting
*Extreme close up of Syd driving
*Tracking shot of Syd driving
*Close up on Mike and Marcus in the car
*Tilt shot of Mike’s car on the freeway
*Extreme close up of Will
*Tilting shot following the back of Mike’s car
*Close up of Mike driving
*P.O.V. shot of the red truck running over random cars
*Extreme close up of Syd trying to get away from the red truck
*Wide shot of the criminal watching the traffic from within the truck
*Close up of Marcus mistakenly shooting the dashboard in Mike’s car
*Close up of Mike’s irate reaction
*Close up of the criminal shooting at Mike’s car
*Tilt shot of Marcus shooting from the passenger window
*Close up of Will telling Marcus to keep shooting
*Wide shot of the criminal shooting back
*Close up of getting back into the car
*Tilt shot of the red truck while the criminal continues to shoot at Mike’s car
*Tracking shot of Syd’s car getting away from the criminals
*P.O.V. shot of the police driving behind the red truck
*P.O.V. shot of the criminal shooting at the police
*Extreme close up of police car lights being shot by the criminals
*Close up of criminals shooting a chain
*Wide shot of police cars running into each other on the freeway, a massive pile up
*Close up of Mike and Marcus slowing down in the car
*Wide Shot of police cars meeting with Mike and Marcus
Theresa Corvino - Snatch - Editing
Snatch
Dir: Guy Richie
2001
Synopsis:
The story is the complex interweaving of a fixed boxing game gone wrong and a botched jewel heist.
Shot 1:
The scene opens with a wide shot of everyone standing in a close huddle. Combining the tight bunch of people with the loose framing of the shot creates a slight awkwardness to the shot that is also the intended feeling of the scene.
The shot is taken with a wide-angle lens and has a deep depth of field with most of the distance in focus. The lighting is normal contrast because of the outdoors in the daytime. It does however look that the lighting has a slight blue tight to set a gloomier mood to the shot. The action is entirely in the foreground with only a tree line to set the background. The shot dollies around them for a moment before cutting in closer to see the parties that are talking.
Shot 2:
The shot cuts to a MS of Turkish and Tommy. The lens is a telefoto and the camera is static on them as Turkish speaks. The framing is tight to only show the two of them. The camera is only slightly below eye line, though normal.
Shot 3:
The shot cuts to a MS of Mickey and the gypsies as Mickey speaks. The camera is very low, angled up on them to give them an overbearing, scary appearance. All of the gypsies frame tightly in the shot to make them seem even more threatening.
Shot 4-9:
The camera cuts back and forth shot-reverse-shot of the two men: Turkish and Mickey speaking as established in the previous shots.
Shot 10:
The shot is another in the shot-reverse-shot succession. However, because of the escalation in the conversation to an argument where Mickey is making demands, the camera has come closer to him with the gypsies in the background. This gives him more of a threatening demeanor, showing how Turkish and Tommy view Mickey.
Shot 11-13:
The camera cuts back and forth with shot-reverse-shot with the established shots above as they continue to argue.
Shot 14:
This shot of Mickey is backed to the longer distance established in shot 3. It is however, higher than shot 3, because Mickey is no longer arguing but considering their offer and has backed off – he is no longer a scary, dominating personality. The framing has also loosened some to display this as well.
Shot 15:
The shot reverses one last time to Turkish as he starts his line before cutting to—
Shot 16:
This shot starts where 14 left off at a loosely framed MS. However, as Turkish’s words quickly excite and anger Mickey, the shot zooms in under Mickey, stopping at a CU of him (from slightly below) and tight framing of the faces of the men behind him, displaying Mickey’s quick rise in anger.
Shot 17:
The shot cuts back to Turkish at a MS and zooms in quickly to a CU of Turkish at eye level as he realizes the reaction he has brought from Mickey. His shot is loosely framed with Tommy off behind him. The loosely framed shot also conveys his fear.
Shot 18:
As Turkish apologies, the shot cuts sharply back to Mickey. As Mickey’s temper cools, the CU zooms back to a MS. The gypsies have spread out in the frame, and though they are framed tightly, the tension is broken.
Shot 19:
The shot reverses back to a MS of Turkish and Tommy in relatively loose framing.
Shot 20-24:
The characters speak back and forth in shot-reverse-shot as they discuss Mickey’s demands.
Shot 25:
Turkish and Tommy step away to discuss something just the two of them. The camera jumps to a wide-angle lens jumps to now frame from behind Turkish and Tommy and include the gypsies and Mickey in the background, acting playfully as Turkish and Tommy discuss in the foreground. The camera slowly pans around Turkish and Tommy to refocus on Mickey and the gypsies in the background before—
Shot 26:
Cutting to a MS, tightly framed, of the gypsies, refocusing the scene on them as they laugh.
Shot 27:
As Mickey addresses Turkish and Tommy, the shot cuts back to them and pans around the direction from which it had just come, framing them in a MS.
Shot 28:
The shot jumps back behind Turkish and Tommy to bring all parties into the frame with Turkish in the foreground and Mickey in the background. The camera continues to pan around to center on Mickey and Turkish in a MLS.
Shot 29:
The shot cuts to a medium side shot of Turkish and Tommy as Tommy speaks.
Shot 30:
The shot cuts back to the gypsies in the background and Mickey in the foreground at a MS from the side. This back-and-forth of shot-reverse-shot sets it up as almost two sides about to start a fight.
Shot 31:
Back to a MS of Turkish with Tommy in the background.
Shot 32:
Shot-reverse-shot MS over Turkish’s shoulder at Mickey and the gypsies.
Shot 33:
As Mickey comments on Turkish’s shoes, there is a cutaway shot to show Turkish’s shoes.
Shot 34:
The shot comes back to over Turkish’s shoulder.
Shot 35:
The shot comes back to the MS of Turkish as he thinks over Mickey’s offer.
Shot 36:
Cuts to a CU of Mickey as Turkish thinks. The shot is a lot brighter, seemingly revealing the honest nature of Mickey and the lifting of the heavy nature of the scene.
Shot 37-38:
Shot-revere-shot between them until in 38 the camera dollies back from over Turkish’s shoulder to bring Mickey into a MLS.
Shot 39-42:
Shot-reverse-shot between them as they talk.
Shot 43:
This shot cuts in location to a WS of a store front where Tyrone exits the store, framed first by the store front, then by the door. They use a wide-angle lens and normal lighting.
Shot 44:
The shot cuts again to inside the car of Brick Top’s men in CU with low-key lighting with one in the foreground and the other in the background.
Shot 45:
The shot cuts back to the original scene. The camera is a wide-angle and looks down on the dogs in a LS from above as the gypsies lead them forward. The camera dollies forward to follow along side the dogs.
Shot 46:
This shot is a cutaway to one of the gypsies counting the money they are betting on. All that is scene are is hands and the cash.
Shot 47:
The shots is a simple shot of one of the gypsies’ pockets as they hand over cash.
Shot 48:
The shot cuts back to Tyrone outside the shop as he leaves down the street. He stops in the exact center of the frame and looks off to the left, seeing—
Shot 49:
Brick Top’s men see Tyrone from the car.
Shot 50-62:
The shot cuts back and forth between the LS of the dogs running and chasing the hares, the CU of money exchanging hands, Mickey (shot from below) in a CU, yelling at the dogs, the men in the car chasing Tyrone, and a canted LS of Tyrone running.
Shot 63:
WS of the hare escaping the dogs in very loose framing, very bright lighting to show the hare running into the background.
Shot 64:
WS of Tyrone being captured by the men in the car and shoved into the trunk..
Shot 65-68:
The shots cut back and forth between the hare outrunning the dogs in loose-framed wide shots and the men stuffing Tyrone in the trunk in very tight framed medium shots.
Shot 69:
There is a brief, low key shot of Tyrone in the trunk, very tight framing to shot the large man stuffed into a small trunk.
Shot 70-72:
The shots cut back and forth from a MS of the men closing the trunk to the hare running from the dogs.
Shot 73:
The shot cuts to Tyrone with the men behind him. He is framed in MLS in tight framing of the hallway. The lighting is low key.
Shot 74-79:
The shot cuts back and forth between Tyrone being drug down the hall and the hare running from the dogs.
Shot 80:
The shot cuts to LS of Brick Top and his men, shot from the ground looking up at them, low-key lighting to show their intimidating personalities, looking down on Tyrone.
Shot 81:
Cuts to WS of Tyrone framed in a pit, looking up to them.
Shot 82:
Cuts to a MS of Brick Top, same angle, talking with Tyrone.
Shot 83:
Cuts back to Tyrone, now in MS, talking with Brick top.
Shot 84:
Cuts back to the hare.
Shot 85:
Cuts to a bird’s eye view of Tyrone in and canted shot of him in the corner, tightly framed by the pit and then by the dog’s surrounding him.
Shot 86:
Shot cuts up to a WS of the man holding the dogs chains in very loose framing and low contrast.
Shot 87-89:
Shots cut back and forth between the hare running and the dogs barking in MCU at Tyrone.
Shot 90-91:
Cutaways of the man loosing the chain that holds the dog back from Tyrone. The depth of field is shallow to only shot the chain.
Shot 92-98:
Cuts back and forth between the hare running from the dogs and Tyrone cowering from the dogs.
Shot 99:
CU of Tyrone as he admits to talk.
Shot 100:
MS of Turkish and Tommy with the gypsies in the background as they watch the hare.
Shot 101:
WS of the hare escaping the dogs.
Shot 102:
Camera pans in to a CU on Turkish as he sees that he has lost the bet.
Shot 103:
WS of the hare running off into the background and escaping.
Shot 104:
MLS of Turkish, Tommy, and Mickey as they stand side-by-side along the frame and talk. As Mickey ducks out of the shot, the camera pans in on Turkish and Tommy, coming to a CU.
Shot 105:
MLS of Turkish and Tommy leaving. The camera dollying ahead of them to keep the frame the same. The shot is with a wide-angle lens and very shot depth of field so that the background is completely out of focus.
Dir: Guy Richie
2001
Synopsis:
The story is the complex interweaving of a fixed boxing game gone wrong and a botched jewel heist.
Shot 1:
The scene opens with a wide shot of everyone standing in a close huddle. Combining the tight bunch of people with the loose framing of the shot creates a slight awkwardness to the shot that is also the intended feeling of the scene.
The shot is taken with a wide-angle lens and has a deep depth of field with most of the distance in focus. The lighting is normal contrast because of the outdoors in the daytime. It does however look that the lighting has a slight blue tight to set a gloomier mood to the shot. The action is entirely in the foreground with only a tree line to set the background. The shot dollies around them for a moment before cutting in closer to see the parties that are talking.
Shot 2:
The shot cuts to a MS of Turkish and Tommy. The lens is a telefoto and the camera is static on them as Turkish speaks. The framing is tight to only show the two of them. The camera is only slightly below eye line, though normal.
Shot 3:
The shot cuts to a MS of Mickey and the gypsies as Mickey speaks. The camera is very low, angled up on them to give them an overbearing, scary appearance. All of the gypsies frame tightly in the shot to make them seem even more threatening.
Shot 4-9:
The camera cuts back and forth shot-reverse-shot of the two men: Turkish and Mickey speaking as established in the previous shots.
Shot 10:
The shot is another in the shot-reverse-shot succession. However, because of the escalation in the conversation to an argument where Mickey is making demands, the camera has come closer to him with the gypsies in the background. This gives him more of a threatening demeanor, showing how Turkish and Tommy view Mickey.
Shot 11-13:
The camera cuts back and forth with shot-reverse-shot with the established shots above as they continue to argue.
Shot 14:
This shot of Mickey is backed to the longer distance established in shot 3. It is however, higher than shot 3, because Mickey is no longer arguing but considering their offer and has backed off – he is no longer a scary, dominating personality. The framing has also loosened some to display this as well.
Shot 15:
The shot reverses one last time to Turkish as he starts his line before cutting to—
Shot 16:
This shot starts where 14 left off at a loosely framed MS. However, as Turkish’s words quickly excite and anger Mickey, the shot zooms in under Mickey, stopping at a CU of him (from slightly below) and tight framing of the faces of the men behind him, displaying Mickey’s quick rise in anger.
Shot 17:
The shot cuts back to Turkish at a MS and zooms in quickly to a CU of Turkish at eye level as he realizes the reaction he has brought from Mickey. His shot is loosely framed with Tommy off behind him. The loosely framed shot also conveys his fear.
Shot 18:
As Turkish apologies, the shot cuts sharply back to Mickey. As Mickey’s temper cools, the CU zooms back to a MS. The gypsies have spread out in the frame, and though they are framed tightly, the tension is broken.
Shot 19:
The shot reverses back to a MS of Turkish and Tommy in relatively loose framing.
Shot 20-24:
The characters speak back and forth in shot-reverse-shot as they discuss Mickey’s demands.
Shot 25:
Turkish and Tommy step away to discuss something just the two of them. The camera jumps to a wide-angle lens jumps to now frame from behind Turkish and Tommy and include the gypsies and Mickey in the background, acting playfully as Turkish and Tommy discuss in the foreground. The camera slowly pans around Turkish and Tommy to refocus on Mickey and the gypsies in the background before—
Shot 26:
Cutting to a MS, tightly framed, of the gypsies, refocusing the scene on them as they laugh.
Shot 27:
As Mickey addresses Turkish and Tommy, the shot cuts back to them and pans around the direction from which it had just come, framing them in a MS.
Shot 28:
The shot jumps back behind Turkish and Tommy to bring all parties into the frame with Turkish in the foreground and Mickey in the background. The camera continues to pan around to center on Mickey and Turkish in a MLS.
Shot 29:
The shot cuts to a medium side shot of Turkish and Tommy as Tommy speaks.
Shot 30:
The shot cuts back to the gypsies in the background and Mickey in the foreground at a MS from the side. This back-and-forth of shot-reverse-shot sets it up as almost two sides about to start a fight.
Shot 31:
Back to a MS of Turkish with Tommy in the background.
Shot 32:
Shot-reverse-shot MS over Turkish’s shoulder at Mickey and the gypsies.
Shot 33:
As Mickey comments on Turkish’s shoes, there is a cutaway shot to show Turkish’s shoes.
Shot 34:
The shot comes back to over Turkish’s shoulder.
Shot 35:
The shot comes back to the MS of Turkish as he thinks over Mickey’s offer.
Shot 36:
Cuts to a CU of Mickey as Turkish thinks. The shot is a lot brighter, seemingly revealing the honest nature of Mickey and the lifting of the heavy nature of the scene.
Shot 37-38:
Shot-revere-shot between them until in 38 the camera dollies back from over Turkish’s shoulder to bring Mickey into a MLS.
Shot 39-42:
Shot-reverse-shot between them as they talk.
Shot 43:
This shot cuts in location to a WS of a store front where Tyrone exits the store, framed first by the store front, then by the door. They use a wide-angle lens and normal lighting.
Shot 44:
The shot cuts again to inside the car of Brick Top’s men in CU with low-key lighting with one in the foreground and the other in the background.
Shot 45:
The shot cuts back to the original scene. The camera is a wide-angle and looks down on the dogs in a LS from above as the gypsies lead them forward. The camera dollies forward to follow along side the dogs.
Shot 46:
This shot is a cutaway to one of the gypsies counting the money they are betting on. All that is scene are is hands and the cash.
Shot 47:
The shots is a simple shot of one of the gypsies’ pockets as they hand over cash.
Shot 48:
The shot cuts back to Tyrone outside the shop as he leaves down the street. He stops in the exact center of the frame and looks off to the left, seeing—
Shot 49:
Brick Top’s men see Tyrone from the car.
Shot 50-62:
The shot cuts back and forth between the LS of the dogs running and chasing the hares, the CU of money exchanging hands, Mickey (shot from below) in a CU, yelling at the dogs, the men in the car chasing Tyrone, and a canted LS of Tyrone running.
Shot 63:
WS of the hare escaping the dogs in very loose framing, very bright lighting to show the hare running into the background.
Shot 64:
WS of Tyrone being captured by the men in the car and shoved into the trunk..
Shot 65-68:
The shots cut back and forth between the hare outrunning the dogs in loose-framed wide shots and the men stuffing Tyrone in the trunk in very tight framed medium shots.
Shot 69:
There is a brief, low key shot of Tyrone in the trunk, very tight framing to shot the large man stuffed into a small trunk.
Shot 70-72:
The shots cut back and forth from a MS of the men closing the trunk to the hare running from the dogs.
Shot 73:
The shot cuts to Tyrone with the men behind him. He is framed in MLS in tight framing of the hallway. The lighting is low key.
Shot 74-79:
The shot cuts back and forth between Tyrone being drug down the hall and the hare running from the dogs.
Shot 80:
The shot cuts to LS of Brick Top and his men, shot from the ground looking up at them, low-key lighting to show their intimidating personalities, looking down on Tyrone.
Shot 81:
Cuts to WS of Tyrone framed in a pit, looking up to them.
Shot 82:
Cuts to a MS of Brick Top, same angle, talking with Tyrone.
Shot 83:
Cuts back to Tyrone, now in MS, talking with Brick top.
Shot 84:
Cuts back to the hare.
Shot 85:
Cuts to a bird’s eye view of Tyrone in and canted shot of him in the corner, tightly framed by the pit and then by the dog’s surrounding him.
Shot 86:
Shot cuts up to a WS of the man holding the dogs chains in very loose framing and low contrast.
Shot 87-89:
Shots cut back and forth between the hare running and the dogs barking in MCU at Tyrone.
Shot 90-91:
Cutaways of the man loosing the chain that holds the dog back from Tyrone. The depth of field is shallow to only shot the chain.
Shot 92-98:
Cuts back and forth between the hare running from the dogs and Tyrone cowering from the dogs.
Shot 99:
CU of Tyrone as he admits to talk.
Shot 100:
MS of Turkish and Tommy with the gypsies in the background as they watch the hare.
Shot 101:
WS of the hare escaping the dogs.
Shot 102:
Camera pans in to a CU on Turkish as he sees that he has lost the bet.
Shot 103:
WS of the hare running off into the background and escaping.
Shot 104:
MLS of Turkish, Tommy, and Mickey as they stand side-by-side along the frame and talk. As Mickey ducks out of the shot, the camera pans in on Turkish and Tommy, coming to a CU.
Shot 105:
MLS of Turkish and Tommy leaving. The camera dollying ahead of them to keep the frame the same. The shot is with a wide-angle lens and very shot depth of field so that the background is completely out of focus.
Justin Afifi - The Great Escape
Directed by: John Sturges
The Great Escape is the story of WWII POWs planning an elaborate escape from their Nazi captors.
In the scene Hilts and Ives are taken to "the cooler" after unsatisfactory behavior in the prison camp. While in the cooler the two discuss their lives outside of the war. While talking Hilts (Steve McQueen) comes up with a plan to burrow out of the prison camp and become free men once again.
Shot 1
Hilts and Ives are taken from behind the barbwired section of the POW camp and walked to the location of "the cooler" in a long shot that tracks into a medium shot. The shot features outdoor lighting and tight framing with a normal lens.
Shot 2
Hilts, Ives, and the guards walk down the hall (longshot) towards the camera in a medium/eye level shot of the guards opening the doors while Hilts and Ives wait. The lighting is low key and the framing is tight shot with a normal lens.
Shot 3
A quick shot of Ives being placed in his cell, his rebellious smile fades to a frown. The shot is a medium shot of Ives is lit low key with a tight shot and normal lens.
Shot 4
Continues from shot 2. Hilts is placed into his cell by the guards, knocks, and hands the guards back the keys he's stolen.
Shot 5
A medium shot of Hilts exploring his cell. The camera pans with him, always staying eye level and following him as if we were in the cell with him. He jumps up and hangs on to the window bars and the camera follows him, then slumps down and throws a baseball against the cell wall, the camera always following. The lighting is low key/natural and framed tightly.
Shot 6 - 10
Share the same characteristics of scenes 3 and 5. Ives and Hilts discuss their lives outside of the war and how many escapes they've attempted in the camp. The camera cuts to whoever is speaking at the moment.
Shot 11
A low angle shot of Hilts as he continues to discuss escape attempts with Ives. The only difference with other scenes is the angle.
Shot 12 - 25
Shares the same characeristics of Hilts' scene 11 and Ives' scenes 6-10. Ives and Hilts talk about their racing days, Ives reveals he once was a jockey which sparks a plan in Hilts.
Shot 26
The scene is identical to shot 5. With the camera following Hilts as he jumps up to the window.
Shot 27
Identitcal to Ives' scene 3, except the camera tracks him walking through the cell as he discusses his days of being a jockey some more.
Shot 28
A medium shot of Hilts standing, all the characteristics the same. He checks his pocket and examines what he pulls out.
Shot 29
Identical to shot 3.
Shot 30
A medium tracking shot of Hilts as he walks to the front door of the cell and whispers to Ives. Everything remains the same.
Shot 31
Identical to Ives' scene 27.
Shot 32 - 35
Hilts and Ives discuss burrowing out of the compound in scenes identical to scene 30 and 31.
Shot 36
Hilts still talking to Ives about burrowing out. The shot is a medium shot of Hilts looking through the cell door window in high contrast lighting and tight framing.
Shot 37 - 39
The same as shot 36 but features Ives and Hilts going back and forth. They discuss how to move the dirt out.
Shot 40
The same as shot 30.
The Great Escape is the story of WWII POWs planning an elaborate escape from their Nazi captors.
In the scene Hilts and Ives are taken to "the cooler" after unsatisfactory behavior in the prison camp. While in the cooler the two discuss their lives outside of the war. While talking Hilts (Steve McQueen) comes up with a plan to burrow out of the prison camp and become free men once again.
Shot 1
Hilts and Ives are taken from behind the barbwired section of the POW camp and walked to the location of "the cooler" in a long shot that tracks into a medium shot. The shot features outdoor lighting and tight framing with a normal lens.
Shot 2
Hilts, Ives, and the guards walk down the hall (longshot) towards the camera in a medium/eye level shot of the guards opening the doors while Hilts and Ives wait. The lighting is low key and the framing is tight shot with a normal lens.
Shot 3
A quick shot of Ives being placed in his cell, his rebellious smile fades to a frown. The shot is a medium shot of Ives is lit low key with a tight shot and normal lens.
Shot 4
Continues from shot 2. Hilts is placed into his cell by the guards, knocks, and hands the guards back the keys he's stolen.
Shot 5
A medium shot of Hilts exploring his cell. The camera pans with him, always staying eye level and following him as if we were in the cell with him. He jumps up and hangs on to the window bars and the camera follows him, then slumps down and throws a baseball against the cell wall, the camera always following. The lighting is low key/natural and framed tightly.
Shot 6 - 10
Share the same characteristics of scenes 3 and 5. Ives and Hilts discuss their lives outside of the war and how many escapes they've attempted in the camp. The camera cuts to whoever is speaking at the moment.
Shot 11
A low angle shot of Hilts as he continues to discuss escape attempts with Ives. The only difference with other scenes is the angle.
Shot 12 - 25
Shares the same characeristics of Hilts' scene 11 and Ives' scenes 6-10. Ives and Hilts talk about their racing days, Ives reveals he once was a jockey which sparks a plan in Hilts.
Shot 26
The scene is identical to shot 5. With the camera following Hilts as he jumps up to the window.
Shot 27
Identitcal to Ives' scene 3, except the camera tracks him walking through the cell as he discusses his days of being a jockey some more.
Shot 28
A medium shot of Hilts standing, all the characteristics the same. He checks his pocket and examines what he pulls out.
Shot 29
Identical to shot 3.
Shot 30
A medium tracking shot of Hilts as he walks to the front door of the cell and whispers to Ives. Everything remains the same.
Shot 31
Identical to Ives' scene 27.
Shot 32 - 35
Hilts and Ives discuss burrowing out of the compound in scenes identical to scene 30 and 31.
Shot 36
Hilts still talking to Ives about burrowing out. The shot is a medium shot of Hilts looking through the cell door window in high contrast lighting and tight framing.
Shot 37 - 39
The same as shot 36 but features Ives and Hilts going back and forth. They discuss how to move the dirt out.
Shot 40
The same as shot 30.
Mo' Money Mo' Problems
Dir. Hype Williams
Off of B.I.G.'s Life After Death feat. Mase and Puff Daddy
Released in '97
This 'futuristic' music video was made after The Notorious B.I.G.'s death. The story that frames the music video is that in which Puffy 'Woods" is trying to win a PGA tournement. The Rapper Mase acts as the sportscaster. The lighting in all these shots are the same, It takes place outside so theres this omnious light comming from what seems like a setting sun. There also seems to be some color correcting that was put in during post production.
The opening shot starts as a long shot of Mase as "Mase Gumble". It quickly moves closer to him, making it a medium shot. He's wearing an oversized yellow suit jacket while announcing for a PGA event.
The first cut is a jump cut less than 30 degrees to the right. Then his voice over continues as it cuts to a shot of Puffy "Woods" standing next to his caddy. The camera is placed low to the ground looking up at the two men.
The following cut backs away from Puffy revealing him walk up to the ball, and crouch down. This is satirical of all golf players i assume.
Suddenly we see "Fuzzy Badfeet" in Medium Shot. He is Puffy "Woods" opponent. He stand infront of a tense crowd gazing upon the highly staked 19th hole.
We then return to Mase "Gumble" in a closer Medium shot. He's talking quietly into a microphone with his finger to his ear as if listening in to someone. The Camera moves slightly around Mase's head while he gazes into the lense.
The there are two consecutive shots using the same camera movement, first is a long shot on Puffy about the swing the club, the camer is next to the hole but tracks forward bringing Puffy into a close medium shot. The exact same movement of camera appears again, only this time puffy swings the club. The we see a close up of the ball falling into the hole.
We cut back to a medium shot of Puffy jumping into the air, raising one fist and hearing the crowd go wild! It cuts to the camera tracking down the line of spectators applauding.
The final shot before the actual song breaks out is a medium shot of a man crouching down leaning on his club. He's in front of the audience wearing red sunglasses and what looks like a Hawwaian shirt. He says, "He's unstopable".
Big Up to Brooklyn.
JOSH COHEN
Off of B.I.G.'s Life After Death feat. Mase and Puff Daddy
Released in '97
This 'futuristic' music video was made after The Notorious B.I.G.'s death. The story that frames the music video is that in which Puffy 'Woods" is trying to win a PGA tournement. The Rapper Mase acts as the sportscaster. The lighting in all these shots are the same, It takes place outside so theres this omnious light comming from what seems like a setting sun. There also seems to be some color correcting that was put in during post production.
The opening shot starts as a long shot of Mase as "Mase Gumble". It quickly moves closer to him, making it a medium shot. He's wearing an oversized yellow suit jacket while announcing for a PGA event.
The first cut is a jump cut less than 30 degrees to the right. Then his voice over continues as it cuts to a shot of Puffy "Woods" standing next to his caddy. The camera is placed low to the ground looking up at the two men.
The following cut backs away from Puffy revealing him walk up to the ball, and crouch down. This is satirical of all golf players i assume.
Suddenly we see "Fuzzy Badfeet" in Medium Shot. He is Puffy "Woods" opponent. He stand infront of a tense crowd gazing upon the highly staked 19th hole.
We then return to Mase "Gumble" in a closer Medium shot. He's talking quietly into a microphone with his finger to his ear as if listening in to someone. The Camera moves slightly around Mase's head while he gazes into the lense.
The there are two consecutive shots using the same camera movement, first is a long shot on Puffy about the swing the club, the camer is next to the hole but tracks forward bringing Puffy into a close medium shot. The exact same movement of camera appears again, only this time puffy swings the club. The we see a close up of the ball falling into the hole.
We cut back to a medium shot of Puffy jumping into the air, raising one fist and hearing the crowd go wild! It cuts to the camera tracking down the line of spectators applauding.
The final shot before the actual song breaks out is a medium shot of a man crouching down leaning on his club. He's in front of the audience wearing red sunglasses and what looks like a Hawwaian shirt. He says, "He's unstopable".
Big Up to Brooklyn.
JOSH COHEN
Menace II Society: The Fifth Post by Davis Rivera
“Menace II Society”
Written and Directed by Allen and Albert Hughes
Released in 1993
Synopsis: A young street hustler attempts to escape the rigors and temptations of the ghetto in a quest for a better life.
Scene: O-Dog and Caine enter a Korean owned convenience store and attempt to purchase two bottles of liquor.
Shot One: The screen is completely black. We hear Caine and O-Dog discussing a party that they intend on going to later in the night. A homeless man interrupts them in an attempt for change. O-Dog reacts violently and tells him, in a vulgar manner, to go away, foreshadowing the extremely violent temper we will see out of O-Dog throughout the scene.
Shot Two: Using the most common shot transition, the cut, we finally are able to see, through exposition, the two men talking as Caine and O-Dog enter the convenience store smiling and continuing to discuss the party. The camera’s height is slightly lower than eye-level and Caine and O-Dog are seen in a medium shot producing a sense of intimacy by allowing viewers to focus on their excited faces as they prepare for the night’s events. At the end of the shot, a black man in the background turns his head to watch Caine and O-Dog as they are nearing the halfway point of the store.
Shot Three: A medium long shot is used and suddenly Caine and O-Dog aren’t the central focus of the shot giving way to the assortment of food and domestic products found throughout the store. As the camera tracks the passage of Caine and O-Dog we suddenly cross over a Korean woman who works in the store and is staring at the young men, not out of the ordinary after the shot of the black man seen earlier. The camera eventually comes to a halt and pans back as Caine and O-Dog reach the liquor section, leaving them in the background. Into the foreground immediately appears the Korean woman from earlier unconvincingly acting like she’s dusting to disguise her obvious suspicions.
Shot Four: A medium close-up signifies Caine’s discomfort and O-Dog’s anger at the woman as O-Dog voices his frustration and lets her know he knows what she is doing. Both O-Dog and Caine’s eyes are seen at the upper right hand corner of the screen, one of the main focal points. Behind them glares the fluorescent lighting illuminating the men in a saturated mix of vibrant colors much in contrast to the way the Korean woman is depicted in the following scene. Caine’s necklace depicting a Christian cross is especially evident below his face full of uneasiness.
Shot Five: A close-up of the Korean woman, one eyebrow arched and grimacing, is seen in extremely desaturated colors. She repeatedly looks down then back up again in a desperate attempt to continue her ‘cleaning up’ ploy that has long since been exposed by O-Dog. She, too, is seen at one of the focal points of the screen, this time at the upper left hand corner. In the background is a drink container, much like the one behind Caine and O-Dog, only now there is no light emitting from it, juxtaposing their brief innocence with her unwarranted skepticism.
Shot Six: O-Dog again expresses his thoughts out loud with his proclamation, “they always think we gonna steal something” as he averts his eyes to the liquor, opens the door and allows Caine to make a selection of what he would like. The saturated colors continue as Caine disappears from the shot leaving O-Dog in a medium close-up.
Shot Seven: An almost exact replica of shot five, again shows the Korean woman nervously looking from the wine bottles she is fictitiously cleaning to Caine and O-Dog going about their business in picking out beer to consume. The mise-en-scène in these two shots emphasizes Caine and O-Dog’s power in controlling a racial motivated event, regardless of their age difference with the woman and it being her own store.
Shot Eight: A medium close-up shows O-Dog closing the liquor case as Caine opens his beer and takes a massive drink lifting the bottom of the bottle to the sky. Immediately after this a swish pan occurs, producing a blurred image of everything Caine and O-Dog passed earlier, ending at a Korean man at the register, unseen earlier due to the black man’s presence, telling Caine not to drink the beer in the store. An important diegetic instrument used during this first pan is the sound of a loud car horn heightening the already unnerving tension the viewer has been privy to this entire scene to its supposed extreme. After the Korean man is finished, the camera again swish pans to Caine who, for the first time in this scene, becomes visibly upset and announces that he intends to pay.
Shot Nine: A close-up shows the Korean woman speed walking and no longer brushing away invisible dust, in an attempt to get closer to Caine and O-Dog. The eyeline match is so pronounced that we no longer question what has captured this woman’s attention but instead focus on her unblinking eyes, unsure of whether, uncharacteristically, she will be the one who does the harm to the two young men.
Shot Ten: These ruminations are thwarted when, in a medium cut, O-Dog stops her in her tracks and yells at her to stop following them around.
Shots Eleven through Twenty-Four: Maintaining a steady medium shot of Caine, O-Dog and the Korean woman, the shot/reverse shot is employed to substantial effect as O-Dog and Caine are told to hurry up and leave while O-Dog tries to calm the situation by saying that’s exactly what he intends to do as Caine now becomes the verbal aggressor intensifying his voice each time the man at the register tells them to leave. Caine and O-Dog arrive at the counter, followed in the foreground by the Korean woman, and pay for the beer. When seen, the man at the counter is shown using a wide-angle lens and in close-up, tightly framed making it easy for the viewer to understand his feeling of constriction as the shoulders of both Caine and O-Dog can still be seen, both at focal points, forming a V-formation as he nervously watches Caine get out his money. Caine asks O-Dog to get his change, which the man at the counter has already put back in the register. O-Dog calmly asks for the change as the verbal attacks on the two men to get out continue repeatedly. Just as the cringe-inducing scene is seemingly at an end as O-Dog and Caine approach the exit, the man at the register, in a medium shot, tells O-Dog, ‘I feel sorry for your mother.’
Shots Twenty-Five through Twenty-Seven: The camera zooms in to an extreme canted angle close-up of O-Dog who is justifiably upset at what has been said to him. The man at the register is then seen in a medium shot at the center of the screen, moving back to a focal point once he realizes the trouble he’s in. The final shot shows O-Dog and Caine in a long shot, revealing the Korean woman in the foreground and placing emphasis on the suddenly minuscule depiction of O-Dog, an abrupt contrast to the towering man at the register emphasizing the opposition even more.
Shots Twenty-Eight and Twenty-Nine: The camera zooms in to an extreme close-up on Caine as he drinks his beer in the same fashion as earlier when suddenly two gunshots are heard in the background. Caine, startled, drops his bottle to the ground as it shatters. A cutaway to a close-up of the broken beer bottle, the only object thus far shown in a single cut, proves important, as the viewer will later learn when Caine’s fingerprints are found on it during an investigation of the murders.
Shots Thirty Through Forty-Five: O-Dog shoots the man at the register two more times then, switching to a normal lens, the Hughes Brothers maintain a series of handheld shots for the remainder of the scene providing a sense of the immediacy required of every one alive. O-Dog grabs the Korean woman, who is by now screaming, and drags her to the back of the store insisting that she tell him where the surveillance tape is. Using harsh lighting and a series of low-angle shots, the Hughes Brothers smoothly draw an urgent attention to the viewer to pay attention to the important details of the story space. The timing of each shot after the murder allows just the right amount of time for each individual character to gather the effects of what O-Dog has done, through brief snippets of the cashier’s dead body behind the counter and Caine’s incredulous face in a fragmented close-up. The camera then zooms in to a plastic curtain distancing the viewer from the violence heard off-screen and ends with the sound of two more gunshots and a halt to the woman screaming. O-Dog returns smiling, the tape seen in the waistline of his pants, and in a low-angle shot robs the dead cashier. Caine eventually gets tired of waiting for O-Dog and leaves. An important aspect of his departure is it happens just as the unopened bottle of O-Dog’s beer is seen in the foreground of the shot, occupying most of the screen, again drawing the viewer’s attention to the bottle so they won’t forget its significance. O-Dog, unlike Caine, does leave with the bottle however as the camera swiftly tracks O-Dog as he follows Caine out of the store and into an unseen car. Like the previous shot of O-Dog killing the Korean woman, the viewer doesn’t see the action taking place but the distinct sound of tires screeching away makes their actions very clear summing up a scene that synthesized the cinematography and mise-en-scène of individual shots into a series of images that, when taken as a whole, transcend the limitations of any one of the images in isolation. For two men who had never made a previous film, this is an impressive feat that few experienced directors have been able to reach.
Written and Directed by Allen and Albert Hughes
Released in 1993
Synopsis: A young street hustler attempts to escape the rigors and temptations of the ghetto in a quest for a better life.
Scene: O-Dog and Caine enter a Korean owned convenience store and attempt to purchase two bottles of liquor.
Shot One: The screen is completely black. We hear Caine and O-Dog discussing a party that they intend on going to later in the night. A homeless man interrupts them in an attempt for change. O-Dog reacts violently and tells him, in a vulgar manner, to go away, foreshadowing the extremely violent temper we will see out of O-Dog throughout the scene.
Shot Two: Using the most common shot transition, the cut, we finally are able to see, through exposition, the two men talking as Caine and O-Dog enter the convenience store smiling and continuing to discuss the party. The camera’s height is slightly lower than eye-level and Caine and O-Dog are seen in a medium shot producing a sense of intimacy by allowing viewers to focus on their excited faces as they prepare for the night’s events. At the end of the shot, a black man in the background turns his head to watch Caine and O-Dog as they are nearing the halfway point of the store.
Shot Three: A medium long shot is used and suddenly Caine and O-Dog aren’t the central focus of the shot giving way to the assortment of food and domestic products found throughout the store. As the camera tracks the passage of Caine and O-Dog we suddenly cross over a Korean woman who works in the store and is staring at the young men, not out of the ordinary after the shot of the black man seen earlier. The camera eventually comes to a halt and pans back as Caine and O-Dog reach the liquor section, leaving them in the background. Into the foreground immediately appears the Korean woman from earlier unconvincingly acting like she’s dusting to disguise her obvious suspicions.
Shot Four: A medium close-up signifies Caine’s discomfort and O-Dog’s anger at the woman as O-Dog voices his frustration and lets her know he knows what she is doing. Both O-Dog and Caine’s eyes are seen at the upper right hand corner of the screen, one of the main focal points. Behind them glares the fluorescent lighting illuminating the men in a saturated mix of vibrant colors much in contrast to the way the Korean woman is depicted in the following scene. Caine’s necklace depicting a Christian cross is especially evident below his face full of uneasiness.
Shot Five: A close-up of the Korean woman, one eyebrow arched and grimacing, is seen in extremely desaturated colors. She repeatedly looks down then back up again in a desperate attempt to continue her ‘cleaning up’ ploy that has long since been exposed by O-Dog. She, too, is seen at one of the focal points of the screen, this time at the upper left hand corner. In the background is a drink container, much like the one behind Caine and O-Dog, only now there is no light emitting from it, juxtaposing their brief innocence with her unwarranted skepticism.
Shot Six: O-Dog again expresses his thoughts out loud with his proclamation, “they always think we gonna steal something” as he averts his eyes to the liquor, opens the door and allows Caine to make a selection of what he would like. The saturated colors continue as Caine disappears from the shot leaving O-Dog in a medium close-up.
Shot Seven: An almost exact replica of shot five, again shows the Korean woman nervously looking from the wine bottles she is fictitiously cleaning to Caine and O-Dog going about their business in picking out beer to consume. The mise-en-scène in these two shots emphasizes Caine and O-Dog’s power in controlling a racial motivated event, regardless of their age difference with the woman and it being her own store.
Shot Eight: A medium close-up shows O-Dog closing the liquor case as Caine opens his beer and takes a massive drink lifting the bottom of the bottle to the sky. Immediately after this a swish pan occurs, producing a blurred image of everything Caine and O-Dog passed earlier, ending at a Korean man at the register, unseen earlier due to the black man’s presence, telling Caine not to drink the beer in the store. An important diegetic instrument used during this first pan is the sound of a loud car horn heightening the already unnerving tension the viewer has been privy to this entire scene to its supposed extreme. After the Korean man is finished, the camera again swish pans to Caine who, for the first time in this scene, becomes visibly upset and announces that he intends to pay.
Shot Nine: A close-up shows the Korean woman speed walking and no longer brushing away invisible dust, in an attempt to get closer to Caine and O-Dog. The eyeline match is so pronounced that we no longer question what has captured this woman’s attention but instead focus on her unblinking eyes, unsure of whether, uncharacteristically, she will be the one who does the harm to the two young men.
Shot Ten: These ruminations are thwarted when, in a medium cut, O-Dog stops her in her tracks and yells at her to stop following them around.
Shots Eleven through Twenty-Four: Maintaining a steady medium shot of Caine, O-Dog and the Korean woman, the shot/reverse shot is employed to substantial effect as O-Dog and Caine are told to hurry up and leave while O-Dog tries to calm the situation by saying that’s exactly what he intends to do as Caine now becomes the verbal aggressor intensifying his voice each time the man at the register tells them to leave. Caine and O-Dog arrive at the counter, followed in the foreground by the Korean woman, and pay for the beer. When seen, the man at the counter is shown using a wide-angle lens and in close-up, tightly framed making it easy for the viewer to understand his feeling of constriction as the shoulders of both Caine and O-Dog can still be seen, both at focal points, forming a V-formation as he nervously watches Caine get out his money. Caine asks O-Dog to get his change, which the man at the counter has already put back in the register. O-Dog calmly asks for the change as the verbal attacks on the two men to get out continue repeatedly. Just as the cringe-inducing scene is seemingly at an end as O-Dog and Caine approach the exit, the man at the register, in a medium shot, tells O-Dog, ‘I feel sorry for your mother.’
Shots Twenty-Five through Twenty-Seven: The camera zooms in to an extreme canted angle close-up of O-Dog who is justifiably upset at what has been said to him. The man at the register is then seen in a medium shot at the center of the screen, moving back to a focal point once he realizes the trouble he’s in. The final shot shows O-Dog and Caine in a long shot, revealing the Korean woman in the foreground and placing emphasis on the suddenly minuscule depiction of O-Dog, an abrupt contrast to the towering man at the register emphasizing the opposition even more.
Shots Twenty-Eight and Twenty-Nine: The camera zooms in to an extreme close-up on Caine as he drinks his beer in the same fashion as earlier when suddenly two gunshots are heard in the background. Caine, startled, drops his bottle to the ground as it shatters. A cutaway to a close-up of the broken beer bottle, the only object thus far shown in a single cut, proves important, as the viewer will later learn when Caine’s fingerprints are found on it during an investigation of the murders.
Shots Thirty Through Forty-Five: O-Dog shoots the man at the register two more times then, switching to a normal lens, the Hughes Brothers maintain a series of handheld shots for the remainder of the scene providing a sense of the immediacy required of every one alive. O-Dog grabs the Korean woman, who is by now screaming, and drags her to the back of the store insisting that she tell him where the surveillance tape is. Using harsh lighting and a series of low-angle shots, the Hughes Brothers smoothly draw an urgent attention to the viewer to pay attention to the important details of the story space. The timing of each shot after the murder allows just the right amount of time for each individual character to gather the effects of what O-Dog has done, through brief snippets of the cashier’s dead body behind the counter and Caine’s incredulous face in a fragmented close-up. The camera then zooms in to a plastic curtain distancing the viewer from the violence heard off-screen and ends with the sound of two more gunshots and a halt to the woman screaming. O-Dog returns smiling, the tape seen in the waistline of his pants, and in a low-angle shot robs the dead cashier. Caine eventually gets tired of waiting for O-Dog and leaves. An important aspect of his departure is it happens just as the unopened bottle of O-Dog’s beer is seen in the foreground of the shot, occupying most of the screen, again drawing the viewer’s attention to the bottle so they won’t forget its significance. O-Dog, unlike Caine, does leave with the bottle however as the camera swiftly tracks O-Dog as he follows Caine out of the store and into an unseen car. Like the previous shot of O-Dog killing the Korean woman, the viewer doesn’t see the action taking place but the distinct sound of tires screeching away makes their actions very clear summing up a scene that synthesized the cinematography and mise-en-scène of individual shots into a series of images that, when taken as a whole, transcend the limitations of any one of the images in isolation. For two men who had never made a previous film, this is an impressive feat that few experienced directors have been able to reach.
Monday, October 13, 2008
Isaac Richter- The Departed
The scene I picked is long, but it shows some really good examples of shot/reverse shots and parallel editing, so I'm just going to write an analysis for this one (since it has a lot of shots, and really quick ones). It's from The Departed, a film about two police officers, one who is infiltrated in the mob to expose their leader, and one who is a rat for the mob inside the department. The scene starts when Colin Sullivan (Matt Damon), the police officer with ties to the mob, moves into his new apartment with Madolyn (Vera Farmiga), his psychiatrist girlfriend. The scene starts with a shot/reverse shot on the kitchen counter, with a box full of Madolyn's old pictures on the counter. Madolyn has a microwave behind her creating a Z-axis, and Sullivan has a blue wall in the background with pintings. There's an eyeline match scene when Sullivan looks at the box next to him and then takes out one of the pictures. We see a picture of a little girl on a bycicly, wearing a helmet and smiling in the foreground, with a house and a tree in the background. Sullivan takes the box and moves it to the other side of the apartment. It becomes a tracking shot, and it reveals a turned-on TV, a lamp, and a door at the far end of the background. This whole scene has high-key lighting, and the framing is relatively tight inside the apartment. Sullivan walks back to the counter and the shot/reverse shot continues.
This is interrupted when the phone rings. There's a small quarrel whether who should answer the phone, and in the end, Madolyn answers it. A man with a voice distorter asks for Sullivan and she gives him the phone. It's Frank Costello (Jack Nicholson), the leader of the Irish mob in Massachusetts, who is walking next to the ship yards and asks Sullivan what is wrong with his phone. There's another eyeline matching shot in which Sullivan takes his phone out of his pocket and sees that he has missed calls from Costello. Here's where the scene becomes a cross-cutting scene between Sullivan talking on the phone, on the terrace outside his apartment, with a glass sliding door behind him and white frames on the door and windows, and Costello movin through the ship yard. On Costello's side of the conversation, the camera is constantly tracking his movement around the shipyard, as he walks up the steps into a red-brick gazeebo. On Sullivan's side, Sullivan moves around the terrace, and we have another eyeline match shot from Madolyn's point of view as she looks at Sullivan, suspicious. Costello moves in a circle inside the gazeebo as soon as he tells Sullivan that he suspects a cop in his crew. He has the harbor in the background with ships sailing back and forth. Sullivan has the kitchen visible through the sliding door and Madolyn in the background. Most of these shots are medium shots, with a couple of close-ups of Sullivan when he starts telling Costello to gather information on everyone in his crew. As soon as Costello hangs up the phone, there's a close-up on ullivan's face, leaning on the terrace rail, with his kitchen and Madolyn standing in the background, loking at him with her thumb on her teeth, and a shasow on the glass creating the z-axis. Throughout this conversation, there have been cuts towards Madolyn, to build the suspense that he's talking about something secret with the person he loves in the other room, and he's being told that if anything happens, he might lose her, so it's important to keep her looking in the background. On Sullivan's side of the phone call, the framing is tight and on Costello's side, it's lose. There's low contrast in the lighting on both sides, hardly any shadows.
After this, there's another cross-cutting scene that is happening in two completely different locations, but it is assumed they're both happening at the same time, since these two locations had just been linked by a phone call a little while ago. On Costello's side of the phone call, the camera tracks him as he walks away from the gazeebo, and as he's leaving, we find Queenan (Martin Sheen) and Dignam (Mark Wahlberg) leaning on the wall of the entrance in the background right behind him, calling him. Costello turns around and sees them. The camera pans from Costello to Queenan as they approach each other. It cuts back to Sullivan's apartment after he's come back inside and Madolyn asks him what that was all about. There's a long shot of both of them on the same frame, first Sullivan on the right and then crossing to the left to pick something up and then back to the right. The camera doesn't move on this part. It ends on a medium shot of Sullivan before cutting back to a medium shot of Queenan and Dignam. It's a shot/reverse shot of them and Costello as Queenan asks him about the micro-processors.
It cuts back one last time to Sullivan's apartment, there's a medium two-shot with both of them in the frame as he approaches Madolyn and kisses her, and this cuts between close-ups of Madolyn telling Sullivan just tell her when something is a secret. The scene ends with the movers ringing the doorbell and disrupting a romantice scene. Then it cuts back to the shot/reverse shot with Costello. It momentarily cuts away to the background behind Costello, where a parade of children dressed as angels is marching on the pier in front of a woman with a white hat. This becomes the background of one last medium shot of Costello before he turns around saying "I've got a date with some angels". This is followed by a medium shot of Queenan looking at Frank with Dignam out of focus in the background and there's an eyeline match shot as we see what Queenan sees, Costello marching behind this woman and a nun.
Both of these scenes together have high-key lighting, and the framing feels relatively tight, except for any frame when Costello is alone. Costello is a man who is never backed into a corner, so I think having the frame be loose whenever he's alone indicates that he's a man who can move around wherever he wants, and every other character is tight in the frame, feeling backed into a corner. It also keeps the lighting high-key to make it seem natural to the time of day.
The Departed is a film where very few shots last more than 15, maybe 20 seconds. He cuts out of scenes very fast, and creates something new with every scene, which means he has more a lot of shots per scene in this film, but it's interesting to see what techniques he uses and I can find many examples of shot/reverse shot and cross-cutting between scenes as well as montages in other parts of the film (like the opening with Sullivan and Billy Costigan (Leonardo DiCaprio) going through police training). It's an interesting film to see for editing. It arranges many different little pieces of the story throughout (it's interesting how it will cut to Costigan's mother dying at the hospital while he's having his interview with Queenan, or how we find out that Queenan and Dignam suspect the rat in the police department while Costigan is seeing Madolyn as a patient). It's a film that doesn't rest when it comes to editing.
This is interrupted when the phone rings. There's a small quarrel whether who should answer the phone, and in the end, Madolyn answers it. A man with a voice distorter asks for Sullivan and she gives him the phone. It's Frank Costello (Jack Nicholson), the leader of the Irish mob in Massachusetts, who is walking next to the ship yards and asks Sullivan what is wrong with his phone. There's another eyeline matching shot in which Sullivan takes his phone out of his pocket and sees that he has missed calls from Costello. Here's where the scene becomes a cross-cutting scene between Sullivan talking on the phone, on the terrace outside his apartment, with a glass sliding door behind him and white frames on the door and windows, and Costello movin through the ship yard. On Costello's side of the conversation, the camera is constantly tracking his movement around the shipyard, as he walks up the steps into a red-brick gazeebo. On Sullivan's side, Sullivan moves around the terrace, and we have another eyeline match shot from Madolyn's point of view as she looks at Sullivan, suspicious. Costello moves in a circle inside the gazeebo as soon as he tells Sullivan that he suspects a cop in his crew. He has the harbor in the background with ships sailing back and forth. Sullivan has the kitchen visible through the sliding door and Madolyn in the background. Most of these shots are medium shots, with a couple of close-ups of Sullivan when he starts telling Costello to gather information on everyone in his crew. As soon as Costello hangs up the phone, there's a close-up on ullivan's face, leaning on the terrace rail, with his kitchen and Madolyn standing in the background, loking at him with her thumb on her teeth, and a shasow on the glass creating the z-axis. Throughout this conversation, there have been cuts towards Madolyn, to build the suspense that he's talking about something secret with the person he loves in the other room, and he's being told that if anything happens, he might lose her, so it's important to keep her looking in the background. On Sullivan's side of the phone call, the framing is tight and on Costello's side, it's lose. There's low contrast in the lighting on both sides, hardly any shadows.
After this, there's another cross-cutting scene that is happening in two completely different locations, but it is assumed they're both happening at the same time, since these two locations had just been linked by a phone call a little while ago. On Costello's side of the phone call, the camera tracks him as he walks away from the gazeebo, and as he's leaving, we find Queenan (Martin Sheen) and Dignam (Mark Wahlberg) leaning on the wall of the entrance in the background right behind him, calling him. Costello turns around and sees them. The camera pans from Costello to Queenan as they approach each other. It cuts back to Sullivan's apartment after he's come back inside and Madolyn asks him what that was all about. There's a long shot of both of them on the same frame, first Sullivan on the right and then crossing to the left to pick something up and then back to the right. The camera doesn't move on this part. It ends on a medium shot of Sullivan before cutting back to a medium shot of Queenan and Dignam. It's a shot/reverse shot of them and Costello as Queenan asks him about the micro-processors.
It cuts back one last time to Sullivan's apartment, there's a medium two-shot with both of them in the frame as he approaches Madolyn and kisses her, and this cuts between close-ups of Madolyn telling Sullivan just tell her when something is a secret. The scene ends with the movers ringing the doorbell and disrupting a romantice scene. Then it cuts back to the shot/reverse shot with Costello. It momentarily cuts away to the background behind Costello, where a parade of children dressed as angels is marching on the pier in front of a woman with a white hat. This becomes the background of one last medium shot of Costello before he turns around saying "I've got a date with some angels". This is followed by a medium shot of Queenan looking at Frank with Dignam out of focus in the background and there's an eyeline match shot as we see what Queenan sees, Costello marching behind this woman and a nun.
Both of these scenes together have high-key lighting, and the framing feels relatively tight, except for any frame when Costello is alone. Costello is a man who is never backed into a corner, so I think having the frame be loose whenever he's alone indicates that he's a man who can move around wherever he wants, and every other character is tight in the frame, feeling backed into a corner. It also keeps the lighting high-key to make it seem natural to the time of day.
The Departed is a film where very few shots last more than 15, maybe 20 seconds. He cuts out of scenes very fast, and creates something new with every scene, which means he has more a lot of shots per scene in this film, but it's interesting to see what techniques he uses and I can find many examples of shot/reverse shot and cross-cutting between scenes as well as montages in other parts of the film (like the opening with Sullivan and Billy Costigan (Leonardo DiCaprio) going through police training). It's an interesting film to see for editing. It arranges many different little pieces of the story throughout (it's interesting how it will cut to Costigan's mother dying at the hospital while he's having his interview with Queenan, or how we find out that Queenan and Dignam suspect the rat in the police department while Costigan is seeing Madolyn as a patient). It's a film that doesn't rest when it comes to editing.
Sunday, October 12, 2008
Jose Saca – Elephant (Fifth Post)
Elephant is a British TV film released in 1989 and directed by Alan Clarke. The film is essentially a series of staged killings filmed in a verité approach. Using minimal dialogue and with little-to-no reliance on plot, the film is an attempt at addressing social problems in Northern Ireland at that time (terrorism and the IRA being an example). The film is shot in 16mm film and utilizes tracking shots to an innovative effect. It influenced Gus Van Sant’s 2003 film of the same name.
Aside from looking at camera distance, lens types, camera movement, lighting (high vs. low key), framing (tight vs. loose) and foreground/background relationships in a shot-by-shot analysis of a selected scene, this post will also look at editing relationships, with transitions, shot/reverse shot, continuity and cutaways as examples of the many questions raised in the editing of a scene.
OPENING SCENE
A street in Northern Ireland. We are clearly in an urban area. The title of the film is superimposed for a few seconds. In the center of the frame, a small figure approaches the camera.
Shot One
A wide shot makes the figure seem small in the opening seconds of the film. The audience can also see a cloudy sky, a billboard for an unknown product, cars, and apartment buildings surrounding the sidewalk the figure walks on. A normal lens with slight deep focus enhances the stark realism Clarke pursuits throughout the film. The figure nears the camera’s POV. The figure is a man in a brown jacket. The camera makes a tilt pan to the right that quickly turns into a tracking shot, slightly moving to the left of the screen. The camera moves but the man keeps walking towards a brick building. Because it’s a stark exterior in an urban area, the lighting is natural-key to convey the film’s realist approach. Framing on the subject is loose. The exteriors surrounding him receive ample presence on-screen. Foreground is slightly exaggerated in opening seconds. The billboard looks unrealistically large, and as the camera makes its tilt pan to the right, the figure appears warped for a second. The background is widened as the figure approaches the brick building. The building towers over the figure as he approaches the entrance. The figure becomes smaller in the foreground until he is virtually nonexistent in the background. A continuity edit is used to transition quickly into the interior of the building. The film wastes no time in transitioning to its next shot.
Shot Two
A full shot, the subject is seen head-to-toe entering the building. The camera waits for a second or two from the building’s interior. The shot is taken with a telephoto lens, enhancing the cramped interior of the building. The camera is still for a second or two before panning to the left. The camera watches the subject enter another door and keeps focus on him for a second or two before cutting to the next shot. Lighting is still natural-key in keeping with the raw minimalism used in the prior shot. The building’s cramped interiors are enhanced by the tight framing used for this shot. In the foreground, the white walls of the building’s interior are warped and appear slightly larger than life. The background is slightly out of focus as the figure enters the shot. If one looks closely, a man looking out the window is somewhat visible in the shot’s background. Another continuity edit is used to transition into the room the man enters at the end of this shot.
Shot Three
Another full shot as the man enters the room. It’s the pool area of the building. From this information, we can gather the building is perhaps a sports club or a place similar to the YMCA. The shot captures most of the room’s dimensions, from the pool in the center to the four walls enclosing it. A normal lens is used in this shot. Lens choice seems secondary before camera movement in this shot. The camera is still for a second or two before it tilt pans to the right as the man encircles the right-hand side of the pool. The camera is still for a few more seconds before tilt panning to the left as the man reaches the pool’s left-hand side. In keeping with prior lighting choices, the lighting of this shot is natural-key. The subject is framed loosely and let free to roam the captured surroundings of this shot. The foreground is heavily distorted and creates a sense of smallness in the man as he walks around the facility’s pool area. The walls and pool are heavily warped. The man is only captured in full focus for a second as he nears the camera, but this changes once the tilt pans come into play. The background is slightly out of focus and the man is captured as a tiny figure. It’s as if he were a victim of the foreground’s distortions. A sharp continuity edit as the man completes his encircling and approaches the entrance of the pool area transitions us to the next shot.
Shot Four
A full shot captures the subject leaving the pool area and returning to where he was in the second shot. The subject is shot with a wide-angle lens. Camera movement is EXTREMELY vital in this shot. The camera is still for the one or two seconds needed for the subject to exit the pool area and walk down a few steps. The camera tilt pans to the right and becomes a tracking shot, shooting the subject with his back to the camera and following him as he walks again towards the entrance area of the facility. The subject takes a right and walks into a cramped corridor for the remainder of the shot. The camera pauses as soon as the subject enters the corridor. The subject is captured walking into the corridor and he becomes smaller and smaller. The subject reaches into his coat as he moves into the corridor. Natural-key lighting, with the assistance of lighting from the florescent bulbs on the corridor’s ceiling, light the subject in a raw yet still bright glow as he keeps walking down the corridor. The camera is still as the subject pauses, turns left, and pulls a shotgun. The foreground is exaggerated throughout. The interiors are distorted and enlarged to create a sense that the subject is alone in what he is about to do. It creates desolation and detachment the subject has to his surroundings. The background is out of focus once the subject comes into play. The backgrounds are smaller than the exaggerated foregrounds. It embellishes the sense of distance created by the foreground. A jump-cut is used to create a jarring effect as soon as the subject pulls out the weapon.
Shot Five
An extreme close-up of the shotgun being fired as the subject’s hand and arm are slightly apparent. A telephoto lens is used in this shot to concentrate more on the subject, the shotgun, over anything else in the background. The camera is still. The high-key lighting is used to emphasize the shotgun’s blast. The shot is tightly framed, with little else in the background. The foreground is completely in focus and exaggerated to create a greater impact as the shotgun is fired. The arm and the gun itself look larger-than-life. This clearly emphasizes the complications arising once someone pulls the trigger of a firearm to hurt a human being. The background is slightly in focus but is almost obliterated by the shot’s emphasis on foreground. Another jump-cut, this one to the rhythm of the shotgun blast, reinforces the jarring effect created by the prior cut.
Shot Six
A full shot of a janitor receiving the shotgun blast as flecks of blood hit the telephoto lens used to create an enclosed relationship with subject and viewer. The compressed depth of the shot proves the latter point. The camera tilt pans downward to the rhythm of the subject’s sudden collapse. The lighting is extremely natural-key. The subject would be considered under-lit if this were a mainstream or narrative feature. The lighting enhances the dread and cold monotony that comes with the act of killing. The subject is captured in a tight frame. The effect one gets watching the shot is of the subject being swallowed by the cramped bathroom he was tending to. The foreground and background relationships in this shot are similar. The foreground walls are somewhat in focus, and the walls and stool in the background are likewise. The shot is concentrated in capturing the subject and his immediate collapse. A continuity edit transitions us to the next shot.
Shot Seven
A full shot, the subject quickly pockets the shotgun as soon as he turns around and walks away. A telephoto lens keeps the focus locked on the subject as he turns his back to the camera and begins his walk towards the exit. A tracking shot follows the subject as he nears the exit of the corridor. The lighting is natural key, in keeping with the coldness exuded by the past shot. The framing is tight. The tight framing and the tracking shot bare similarities with Kubrick’s The Shining in the effect one gets with the movement of the camera combined with the tightness of the frame. It’s as if the corridors were moving rather than the subject. Foreground is focused on the subject. Background is virtually nonexistent, as the effect created by the moving camera and tight foreground strike an odd but effective balance that matches with the movement of the subject. A quick and effective continuity edit is used once the subject reaches the corridor’s exit.
Shot Eight
A full shot of the subject as he exits the corridor, heads towards the entrance door, opens the door and leaves. A wide-angle lens is used to balance the focus of the foreground and background in relation to the subject. The camera is still. The lighting remains natural-key. The framing is loose to retain the abovementioned balance between foreground/background in relation to the subject. The foreground and background are in synch. A sharp continuity edit occurs once the subject pushes open the door and leaves.
Shot Nine
A full shot with a telephoto lens captures the janitor’s corpse in full view. The camera is still, making the viewer voyeur in the most painful manner possible. The stillness of the camera captures the coldness and monotony of the room that harbors the body. The lighting is natural-key, but because of the subject’s dark clothing and the telephoto focus used to capture the stillness in which he lies on the floor, the lighting does seem a bit low-key if the film is paused and looked at closely. For once, the foreground isn’t the dominant partner in its relationship to the background. With the exception of the subject’s legs and feet, nothing in the foreground is distorted or altered in this shot. The background is in perfect synch with the cramped interior, to the point where the subject’s upper-body seems to blend in with the background itself. The camera remains still for about five more seconds. A continuity edit transitions us to the next scene.
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