Director: Jon Favreau
Rich and cocky playboy, Tony Stark, is forced to build a suit of armor after he is captured by terrorists. Returning to his previous life, he fully develops the suit into Iron Man to fight evil.
LS of Tony Stark entering his living room taken with a wide lens. The shot is static. There is low-key lighting (high contrast) to display nighttime and a shift to a darker place in the film. The framing is very loose with Tony set to the far left with not much else in the room. Depth in the shot is created by having Tony walk towards the couch in the background, further into the frame.
MS shot of Tony Stark answering his phone. Tony is slightly more defined in a frame by the lines of the window though no true frame is created.
CU of cell phone. It is high key (low contrast) lighting that is rather neutral. The frame is tight, not even displaying the entire cell phone.
CU on Tony Stark looking at his phone. There is low-key lighting on his face and much of the background of the shot is blurred. He is set at the edge of the frame to not reveal a key plot point.
MS of Tony Stark on the couch with the villain. The shot tracks out and upwards to reveal the villain into the frame.
CU of Tony Stark, straight on his face, looking at the villain. The lighting is still low-key but has shifted to more normal to normal as the shots are now more intimate.
The shot flips to a CU upward angle of the villain, Obadiah.
Cuts back to the CU of Tony on the couch.
The shot is a canted angle MS of Tony and Obadiah with strong angles creating depth and dimension.
Cuts back to CU of Tony.
Cuts to CU of Obadiah.
Cuts to MCS from the side canted angle, though a little closer than before.
Cuts to CU of Obadiah with very low-key lighting and a strong directional lighting coming from the device off screen.
Cuts back to CU of Tony Stark.
Cuts back to MCS of Tony and Obadiah side canted angle, a little closer still. As Obadiah sits on the couch beside Tony, the shot tilts and tracks in towards the actors as it squares off to a normal, flat angle. The shot ends with very tight framing on the two actors.
CU of Obadiah and Tony straight on.
Cuts back to side MCU of them on the couch.
The shot zooms in from a CU to a ECU on Tony’s Face to show emotional trauma.
WS of Tony and Obadiah and the living room as Obadiah leaves. The shot mimics the opening shot of the scene, but pans over as Obadiah walks towards the camera (creating depth to the frame) as he walks out of it.