Tuesday, October 7, 2008

Theresa Corvino - Iron Man

Iron Man
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.

First Shot:
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.

Second Shot:
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.

Third Shot:
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.

Fourth Shot:
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.

Fifth Shot:
MS of Tony Stark on the couch with the villain. The shot tracks out and upwards to reveal the villain into the frame.

Sixth Shot:
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.

Seventh Shot:
The shot flips to a CU upward angle of the villain, Obadiah.

Eight Shot:
Cuts back to the CU of Tony on the couch.

Ninth Shot:
The shot is a canted angle MS of Tony and Obadiah with strong angles creating depth and dimension.

Tenth Shot:
Cuts back to CU of Tony.

Eleventh Shot:
Cuts to CU of Obadiah.

Twelfth Shot:
Cuts to MCS from the side canted angle, though a little closer than before.

Thirteenth Shot:
Cuts to CU of Obadiah with very low-key lighting and a strong directional lighting coming from the device off screen.

Fourteenth Shot:
Cuts back to CU of Tony Stark.

Fifteenth Shot:
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.

Sixteenth Shot:
CU of Obadiah and Tony straight on.

Seventeenth Shot:
Cuts back to side MCU of them on the couch.

Eighteenth Shot:
The shot zooms in from a CU to a ECU on Tony’s Face to show emotional trauma.

Nineteenth Shot:
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.

1 comment:

Naima Lowe said...

Great, though I would suggest giving a sentence or two of synopsis of the scene you're dealing with.