Carrie (1976) by Amber S. Palmer

Carrie (1976)

Director: Brian DePalma
Screenwriter: Lawrence D. Cohen
Based on a Novel by Stephen King

The 1970’s film cult classic, Carrie accentuated the brilliance of using sound and music to create a horrific world of peer torture and the power of darkness. Carrie begins through an orchestral score showing the girls locker room as it leads to showing Carrie in the shower. DePalma gives the audience of sense of trickery because he makes extreme close ups of Carrie washing her body as if she was a sexual object. The music engages the audience into what is going on in the scene. The scene is the complete opposite of the music but that makes it all the more better. DePalma begins to unveil the story of this tortured young lady and opens the audience’s eyes to her religious freak of a mother. Her mother makes Carrie recite the bible front and back believing it will save Carrie’s soul from all damnation. DePalma has a gym scene where the only sound used is the teacher’s voice echoing throughout the gym. Just using the teacher’s voice made the scene extremely effective because the audience can understand the seriousness of the message she’s trying to get across to her students. DePalma really strengthens the relationship between the gym teacher and Carrie. Every moment Carrie and the teacher spend together he uses the same music score to show how the teacher is the mother figure Carrie should have, maybe Carrie wouldn’t have such a low self esteem. When Tommy, a handsome jock, goes to her house and convinces her to go to the prom with him all you can hear is his truck and the city. Carrie’s usage of using natural sound makes the film even creepier because DePalma sets it up like Carrie is a haunted house and the sounds you hear are like the ghosts making their presence felt. One of most skillfully written scenes was the prom scene where Carrie and Tommy are made prom king and queen. The music score that played for Carrie throughout the entire film is played as she makes her way to the stage. The score turns it to this low menacing sour when the camera goes to two of her classmates ready to pull the pig’s blood on Carrie. The score going between the auras of the scene and foreshadowing Carrie’s huge embarrassment entices the audience to see what’s going to happen. All of the music turns into this very intense beat where it races back and forth with the film up until Carrie’s splattered with pig’s blood. Then, the music slowly dies and all you can hear is the blood continuing to spill on the floor. A sick replay of one of her classmates saying, “Their all gonna laugh at you!” amongst the teachers telling her, “Sorry” and that she can trust them. Carrie goes into her telekinetic trance and the orchestra maintains a low violin mellow, which slightly goes up and down. Screams and the gym being destroyed through Carrie’s mind cover the violin melody. Carrie does a masterful job of putting fear into the audience not only because of the eerie characters and the story of a tortured girl’s powers, literally electrifying those around her, but the music introduces us to a world full of sadism and vengeance.

Ferraro - "Some Like It Hot"

"Some Like It Hot" (1959)
Billy Wilder


This week we are viewing how sound anf music work in movies. I picked "Some Like It Hot" since Marilyn Monroe appears to be a good example of sound motifs.

The movie has a jazz theme so saxophones and trombones are used alot, mainly in the opening credits before the whole hubub with the gangsters. Also, the same tune was used for when Marilyn Monroe's character "Candy" first appeared, and when she was walking around while the men were ogling her body. To go along with the jazz, several other instruments were used to match Marylin's movements: a shaker for when she danced during a song, and flutes when she was skimping down the train in the middle of the night. Candy wasn't the only character with her own personal sound effects. The antagonist, played by Geoff Raft, is followed by a boom of a large bass drum as he made his way into the Miami hotel.

The music played often corresponds with the location of the current scene. When the mobsters stop at a funeral home, you hear the sound of an organ, even from across the street. It isn't until the organ-player stops playing and opens a door when the music switches to an upbeat jazz rythym as it leads into a speakeasy with dancing girls. When the band arrives in Miami, a ukalali is being played in the background.

As for regular sound effects, most of them, particuarly in the beginning shoot-out scenes, sounded somewhat unrealistic than what can be heard in modern movies today. They sounded more like they came from a Bugs Bunny cartoon. But most of them were viviant reminders of the current setting. For example, the train scene had the chugging wheels and an occasional train whistle to remind us that they were traveling on a train. And at the beach you always heard wves crashing despite we were watching Sugar and Joe flirt with each other.

A wonderful classic, with fair examples of sound and music.

Dave Chappelle's Block Party: Reviewed by Davis Rivera

In his 2006 documentary “Dave Chappelle’s Block Party,” director Michel Gondry presents the formulation, actualization, and jubilation felt before, after, and during a block party hosted by comedian Dave Chappelle and emphasizes the positive effects sound and music can have on people regardless of their race, sex, or personal outlook on life. Inspired by the popular 1973 film “Wattstax,” also a documentary chronicling a musical event, the film follows Chappelle as he realizes what he describes as “the concert I’ve always wanted to see” on the corner of Quincy and Downing Street in the Clinton Hill neighborhood of Brooklyn, New York. Though the film doesn’t make the viewer aware of this, it’s important to note that at the time of this production, Chappelle had not yet made his decision to turn down the fifty million dollar deal to continue his hit sketch comedy show but, as a testament to his vastly adored ebullient personality, Chappelle never once shows any hint of weariness and, through an intense work ethic, is shown determined to witness his event without any hindrances, more for the audience’s sake than his own. It is soon clear to the viewer that this is exactly what Chappelle accomplished and, with the help of Gondry, avoided any unintentional “unheard melodies,” making the viewer fully aware of the music and enjoying the story as an added bonus.

Gondry begins the film with a fitting dedication to the late producer James D. Yancey, also known as J Dilla or Jay Dee. The viewer then hears the sound of someone attempting to start a car. In a highly inventive but seldom used editing technique notably perfected by the Hughes Brothers in their 2000 film “American Pimp,” each time the person off-screen attempts to start the car, a different title credit will appear on screen via a jump cut. A final abrupt jump cut reveals an old brown automobile which appears to have been manufactured in the early to mid-eighties sitting in front of a tennis court with its hood up being attended to by a younger man while an older man, presumably the man’s father, sits inside the car revving the engine. Even though we see this in a medium long shot, we get a firm glimpse of the old man as he humorously looks directly into the camera calling attention to the process of the film and no longer focusing on the state of the car. Chappelle takes this moment of easy distraction to walk up to the men, arrive at a crucial focal point and ask them various questions about the car. Knowing that he, as a well-known entertainer, cannot and will probably not be expected to be of any help, Chappelle steps away just as the faint sounds of a marching band are heard echoing in the distance. Through the use of this short burst of non-diegetic music, Gondry takes advantage of what he knows ahead of time will be one of the few narrative and non-concert related scenes and provides an excellent bit of background music that not only sustains the audience’s attention but also lends coherence to the scene as it focuses more closely on Chappelle who, one can determine, coincidentally, has begun using a megaphone to speak to the old man about what he has done to help get the car started. Also, by using the marching band, Gondry makes the viewer appreciate the unique tonal qualities of their talents and prepares them for their more productive part they play later in the film.

The dominant sound of the marching band at the end of the car repair scene eventually carries over into the next scene forming the aural equivalent of a dissolve, and reveals Chappelle against the same tennis court backdrop as earlier but without the brown car in front of him. Instead, we see the full marching band behind him no longer increasing in volume but playing at the same tempo as Chappelle, again with his megaphone, introduces each performer that will be at his event culminating in himself, which he emphasizes by doing a highly stylized and well choreographed dance in deep focus blended effortlessly to match the higher notes played by the marching band behind him. Like the inventive title credits seen before, Gondry has crafted a whimsical way of having the names Chappelle enunciates come flying out of the megaphone in saturated colors and landing on the gate surrounding the tennis court behind Chappelle, emphasizing the brightness of his life now that he’s temporarily free from the restraint of his show and reminding the viewer that the concert is being performed during the summer, contributing to the aesthetic quality of the film and conveying very important information without even reaching the four minute mark.

Immediately after the celebratory dance has completed, a cutaway reveals Chappelle in presumably the green room, exclaiming loudly and fittingly, “it’s a celebration!” The well-informed viewer can’t help but notice that Chappelle has used the infamous intonation of his popular Rick James parody and should find this a pleasant surprise after learning, through various interviews, that Chappelle grew to disdain the voice. Gondry undoubtedly used this particular scene of Chappelle using the notable voice, with boisterous laugh included, to make the viewer aware of Chappelle’s current infectious love of life. Following this welcome burst of both non-diegetic and diegetic music, mixed with a loose-framed and bright mise-en-scene, is an extreme close-up of a brief prayer meeting before the concert begins, contrasting Common’s proclamations such as “they said it was supposed to rain but God, you’re letting your face show us that you want us here” with graphic matches such as the sun shining brightly above an antique building and the bright, shining faces of local residents on lawn chairs prepared to enjoy the event. This is also a prime example of the effects a voice-over can have on the audience. Hearing Common speak, in his calm, rhythmic voice about the blessings God has bestowed upon everyone, the soul and power that they’ve collectively formed, the messages they’re receiving about how important the day is and, in a humble closing, a thank you to Dave Chappelle for getting everyone together, while the sounds of Kanye West’s “Get ‘Em High” echo non-diegetically in the background and Gondry takes us on a virtual tour of the people, is affecting, encouraging audience identification with the people we see on screen, whether the viewer is religious or not.

Gondry pans over the top of the prayer meeting and arrives at a steady medium shot as Common closes and Chappelle begins his diatribe, in a voice-over, about how excited he is for the concert, how he’s always been a fan of the artists he’s gathered, and letting the viewer know this is the concert he’s always wanted to see. As he’s saying this Gondry emphasizes the actual process of passing time (albeit in a condensed form) by use a mini-montage collecting every performer that we’ll see later in the film; whether smiling, serious, or quixotic, Gondry has crafted each shot perfectly and joined them together by an appropriate shot transition. Shot transitions and using the always-effective sound bridge are what Gondry specializes in for the remainder of the film. Notably in a scene depicting Chappelle and Lil’ Cease as he reminisces about his deceased friend Christopher Wallace, also known as The Notorious B.I.G. or Biggie Smalls, and talks about the influence he, along with his group the Junior M.A.F.I.A., Jay-Z, and other artists associated with Brooklyn, have had on the entire world. Lil’ Cease closes with an important statement that, growing up, rap was the foundation that kept him, and many others, out of trouble and that he never let money get in the way of his relationships with other people, the major message of the film. As he finishes up with a last message that hip-hop was his world and to never let anything come between you, your friends and your vision, Gondry cuts to Dead Prez on the main stage as the first chords of “Hip Hop,” begin, complete with shots of a communal group of fists raised in the air in unison. Another excellent example of this technique occurs much later in the film when, for the first time thus far and a jarring contrast considering what the film is about, an elderly woman expresses her distaste for rap music, citing its foul language and ill-effects on children as examples. As she finishes, Gondry cuts to a close-up of Chappelle and Mos Def on stage performing two crude routines that make the lyrics of most of the artists performing at the event seem tame in comparison. This kind of contrast provides a rare moment where the viewer doesn’t know whether this makes the performers, Chappelle included, vulnerable to the criticism that the old woman has constructed or whether Gondry is trying to say that although the woman has a moot point, the music’s redeeming qualities should not let it be subjected to such overblown generalizations.

Though Gondry does takes advantage of the cornucopia of good music and performances available to him by exasperatingly cutting away from the performances frequently, wreaking havoc on the documentary’s rhythms and the power of the songs, he does manage to successfully use sound to complement the images onscreen, even when those images are abstract, such as the opening car sequence. Through establishing historical context, shaping the audience’s perception of space, defining character, shaping the emotional tenor of scenes and occasionally distancing the audience, Gondry has, in his own madcap way, showcased the five common functions of a film about music and crafted a feature that will be revisited for many years as a part comedy, part concert film, part avant-garde experiment full of joy and hope encompassing the state of our current civilization with a refreshing hint of optimistic patriotism.

Forrest Gump- Isaac Richter

"Hello, my name's Forrest, Forrest Gump." These are the first words we hear out of Tom Hanks' mouth in this story about a simple man growing up in the United States of America through the 50's 60's and 70's living the same events that people in this country lived through around that time yet the way he experiences those events is different. He looks at the world without a hint of cynicism or ill will toward anyone. He has faith in mankind, and because he does not understand anything that is complicated, his outlook is simple.
Forrest Gump is a film that spans at least 30 years and each one of these eras has to be presented in a way that is believable with its own sounds and its own music. In this film, music helps set up the time and place in history where Forrest Gump, and all of the people he knows are now situated in. When we hear a guitar and the song “Hounddog” coming from one of the rooms in Forrest's house we know that Elvis Presley is in there and getting the moves from Forrest. We also hear Let's Get Together by The Youngbloods to set up the Summer of Love and several songs by The Doors are used to set up Vietnam as a place of danger and adventure. Alan Silvestri’s original score is also used throughout the film to heighten the emotional qualities of the events in Forrest’s life. The volume of the music is raised in the scene in Washington where Forrest runs to the fountain to hug Jenny, or every time he starts running, especially the first time when the braces on his legs break. The main theme of the film that opens and closes the film follows the movement of a feather flying in the sky and landing on Forrest’s shoe, and then flying away from Forrest’s shoe, back into the air.
Apart from the music and the sound effects, this film provides us with a voiceover that makes us look at these events in a way we never would have thought of before. The film assumes that the audience seeing the film are familiar with the Vietnam War, the Watergate scandal, the hurricane that sinks most of the boats in the marina (I forgot the name of the hurricane), since they’re all very important events in America, but the way Forrest Gump narrates the story is in a very simple manner. Because of the voiceover, we understand why Forrest does what he does. He falls in love with Jenny because she’s the only child who was ever nice to him, he takes up shrimping because he made a promise to his “best good friend” who died in Vietnam, he called in the Watergate Hotel break-in because the flashlights were hurting his eyes, he approached a black woman because she dropped her book, and he ran across America for over 3 years just because he “felt like running”. Without the voice-over, and without this insight into Forrest Gump, especially without the retrospect that Forrest has now that he knows the significance of the events he participated in, it gives the audience and Forrest himself a new understanding of what he’s going through. Tom Hanks has perfected a childlike pitch and Southern accent that makes his thoughts and reasoning believable.
The scenes in Vietnam have their own distinct sounds from the raindrops to the weapons that are fired and the footsteps heard on the mud whenever the soldiers are running. Other sounds that are created are the sounds of the ping pong ball, which had to be digitally added to make the games believable, and lines had to be added to archival footage to create their interaction with Forrest Gump, such as Elvis, Kennedy, Johnson, Nixon and Lennon.
Forrest Gump is a film that spans 30 years, but all of those years are built around a character, and this character has his own thoughts and feelings about the world around him which is contrasted with the feelings of the rest of the country and the people he meets, including Jenny, the love of his life, Lt. Dan Taylor from the army and even his own mother. People hear about politics and religion, about what causes a war or what creates the wheather, or the social implications of racism. All that Forrest Gump hears is what is right and what is wrong, what makes sense to him and what he believes must be done to keep the harmony amongst the people he loves. He is a simple man in a complicated world, or maybe it’s not that complicated. This film, with its combination of crowd’s cheers, explosion bangs, ping pong balls, rock music, and the voice of this man guiding us through his story and the events that are covered throughout, this is a film where what we hear is crucial to getting the message across.

Jose Saca - The Spanish Civil War (Part One: Prelude to Tragedy (1931-1936)) (Sixth Post)

Prelude to Tragedy is the first in a six-part BBC documentary on The Spanish Civil War directed by John Blake and first broadcast in 1987. The film examines the five years before the start of the civil conflict. The film shows stock footage, interview footage, and talks to surviving figures about what lead to one of the bloodiest civil disputes in all of Europe. The following post will discuss how sound and music is used throughout to create a fascinating portrait on the origins of this civil dispute.

Music and sound effects are interspersed throughout the film. The film achieves some of its key dramatic moments when music and sound effects are put together with the moving image, creating a portrait that sticks with the viewer.

An example of the abovementioned point is the film’s first scene. A peasant farm where a shepherd tends to a flock of sheep is transformed into a key moment of suspense because, the viewer, via the sound of the footage mixed in with the tense music score, is put through suspense as to what exactly the film will be about. The director elicited suspense on the viewer’s part by his usage of sound and music in an ordinary situation. Take the music away, and you have a mundane scene. It is the way music is used, as in the example of the first scene, that affects the overall tone of the film throughout.

Stock footage of key political figures is mixed in with the tense score. A narrator (Frank Finlay) acts as a voice of God in by giving out the cold hard facts about the war. The viewer is transfixed and easily settles into a fascinating yet informative document about a largely misunderstood or forgotten event in the history of Europe.

**Below is my response to Prof. Lowe's comment. I hope it helps specify any vagueness in this entry.

The documentary would've been talking heads and facts had it not been for sound and music.

The score employs string arrangements similar to Kurosawa's Ran in its total manipulation of the viewer. It brings into the history of the country from 1931-1936, and whenever a pivotal event is told, such as the winning of the 1933 elections by Jose Maria Gil Robles' Right-wing CEDA group, the score would swell and literally jolt the viewer into feeling the collective sentiment of the people at that time. Spain was under the Leftist Second Republic at that time, so the score would use exploit a depressive tone in a moment of catharsis such as Gil Robles' victory.

It's hard to describe the sentiment without going back to films that reminded me of the catharsis presented through sound. However, going back to Ran, if you remember the battle sequence when Lord Hidetora (memory is failing me at the moment) is forced from his kingdom, it was entirely silent, with only a string arrangement score playing as the actors and extras waged a brutally depicted war in the film. The catharsis felt in a masterpiece scene like that one is similar to what I felt watching The Spanish Civil War.

Prison Break: Season 1: Episode 14: "The Rat"

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

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.

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Shot 2: Steve Buscemi looking back at the kidnapped woman

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Shot 3: The kidnaped passenger covered in a blanket

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Shot 4: The Passenger reprimanding the noisy victim

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Shot 5:  Buscemi responding

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Shot 6: Passenger look of recognition

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Shot 7: Buscemi looking in the rear view noticing the police light shining into the car

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Shot 8: A shot in the rear view mirror showing the police coming up

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Shot 9: Buscemi spooked:

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Shot 10: Passenger noticing the police:

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Shot 11: The police car again seen in the mirror now much closer

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Shot 12: Buscemi assuring the passenger everything will be ok

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Shot 13: The passenger seeing for himself

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Shot 14: The police car sitting behind them with lights flahsing

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Shot 15: Buscemi looking back at the car

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Shot 16: The car again

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Shot 17:  Buscemi telling the passenger to keep quiet

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Shot 18: Passenger stare

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Shot 19: Buscemi assuring him he will take care of it

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Shot 20: Continued stare

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Shot 21: Cop getting out of his car

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Shot 22: Buscemi waits anxiously

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Shot 23: shot in the side view mirror, the cop approaching with flashlight

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Shot 24: Buscemi greets the officer as he walks into frame:

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Shot 25: The officer shines his flashlight on the passenger's face

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Shot 26: The officer looks around the car as Buscemi waits 

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Shot 27: Shot of Buscemi from officer's POV shining flashlight on him

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Shot 28: Buscemi talking to cop

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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

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

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.

"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.

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

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.

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.

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: Troy Duffy

The Boondock Saints is a film set in Boston, Massachusettes about two Irish men (played by Sean Patrick Flannery and Norman Reedus) who hunt down and kill gangsters, criminals, and lowlifes. They gain popular media attention and are nicknamed the saints. However, an FBI agent (Willem Dafoe) is on their tail trying to bring the saints to justice.

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.