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.