Location - Rook Birch Wood, How Green lane,
Hever, Kent
Characters - Mass murderer/serial
killer/psychopathic killer
Props/ideas
Abandoned shed
Metal cage
Poster board
Table covered in work tools
Table covered in photos, bottles, pills, scissors, old pencils
Chainsaw
Bandages
Dirty rags
Blood Stains
Titles
Carved into wood
Placed into clip post production
Shown on table with the variety
Narrative
Beginning of title sequence involvesestablishing shots of location.
Tilt up shot of murder victim, from his feet to his head, found hanging from a tree integrated gradually throughout sequence.
Murderer’s face not seen throughout clip.
The murderer is not seen clearly, his hands and body will be briefly seen throughout the clip creating enigma.
These shots will be mixed in with the tilt up of the murder victim.
The murderer will be seen writing a suicide note for the victim like the many he has before.
The murderer’s shed will contain his potentially deadly work tools sprawled across the table accompanied by pictures and newspaper cuttings of his previous victims.
Throughout the sequence radio broadcast of police reports will be played to provide the audience with information of the current story line.
Accompanying the radio reports will be pictures of past victims as well as old newspaper reports about the dead people that have been found.
In our research we found that we like all these fonts, as they are go with the idea that the murderer is writing a letter. All of these fonts look sketchy and handwritten to create a sense tension and realism.
Long Shot (LS) of the sea and waves, panning towards the shore.
Good lighting, the crashing of the wave’s only thing in the shot.
2
7 seconds
Close Up (CU) of the protagonist (Leonardo DiCaprio), a slight high angle.
He is wet and dirty, in a daze.
3
2 seconds
Mid Shot (MS) of a child on the beach. POV shot.
A child, playing in the sand. Despite not being able to see the face of the child we can tell he is enjoying himself.
4
3 seconds
Close Up (CU) again of the protagonist. A shot, reverse shot to show his reaction.
Clearly the child is related to the protagonist in some way. Still very wet and lying as if he is weak.
5
3 seconds
Long Shot (LS) of one child running toward the child in the original shot. Again POV Shot.
A girl running towards a boy, possibly her child. They are both clean and well dressed, juxtaposing the protagonist’s state.
6
4 seconds
Close Up (CU), however it’s a slightly different angle. But again seeing the reaction.
Same as shot 4.
7
2 seconds
Long Shot (LS) of the two children, again a POV shot.
Both start to run away out of sight.
8
5 seconds
Close Up (CU) same as shot 6.
Seeing his reaction. However he falls unconscious as they run away.
9
2 Seconds
Mid Shot (MS) of someone poking him (DiCaprio) with a gun, but no response.
The fact he has a gun shows authority, and he’s poking DiCaprio as if he could be a danger.
10
2 seconds
Mid Shot (MS) showing the guard and that he is suspicious.
He is dressed as a police officer/ guard again highlighting his authority.
11
2 seconds
Mid Shot (MS) the guard is again poking, however pushes up his jacket showing that he’s carrying a gun.
From this angle we can see how dirty DiCaprio actually is, and when we see his gun it shows he is there for a reason, not just washed up on the shore.
12
2 seconds
Same as shot 10.
The guard is speaking to someone else, in a different language.
13
5 seconds
An extreme long shot (XLS) showing the response of another guard. A pan shows us a huge house.
The guard is dressed in the same clothing showing the owner of the house is powerful. The house is decorated as if it’s from Asia.
14
9 Seconds
A cross cut to inside the house, a long shot (LS) where people are talking in another language. It zooms slowly onto the table in the centre of the room.
It is decorated very expensively, and there are guards, both these showing the owners power.
15
5 seconds
Zooms further into (a mid shot) the table where someone is sitting at the table (possibly the owner).
He looks old and fragile, however is dressed in a suit and tie showing his wealth and authority.
16
3 seconds
Close Up (CU) showing what DiCaprio was holding: a gun and a spinning item.
The gun makes the owner feel endangered; however the other item makes him seem intrigued as if he’s seen it before.
17
5 seconds
Mid shot (MS) showing the old man, slowly turning going to talk to some of his guards.
Same as shot 15.
18
6 seconds
Long shot (LS) showing the guards burst through the doors bringing in DiCaprio, who still looks weak.
DiCaprio is still as dirty and as weak, shown through the guards dragging him.
19
4 seconds
Motivated cut, into close up (CU), showing DiCaprio eating the camera is panning up towards his face.
He is eating incredibly quickly as if he hasn’t eaten for days.
20
3 seconds
Over-the-shoulder shot, an unfocused long shot showing the wealthy owner, and an in focus shot of DiCaprio who is dirty.
There is a clear juxtaposition between the classes.
Soundtrack:
Starts off with heavy music, progressively gettinglouder.
However as thefirst shot occurs, there is a sound mix where two layers are formed. The music fades out and the sound of the waves breaking takes over.
At shot 2, the sound of the waves breakingfades out slightly, this is so we can hear the sounds of the children’s laughter; presumably in the mind of the protagonist.
Another sound mix occurs during shots 4-6, with music becoming louder over the sound of the crashing waves.
At shot 10, dialogue is introduced; however it is in a foreign language but there are no subtitles creating a sense of mystery.
At shot 14 when we’re taken into the house more dialogue occurs, and this time there are subtitles to translate. However there is also non-diegetic sound which is getting faster and to a higher pitch creating tension.
Evaluation of Technical Analysis:
I believe watching the clips shot by shot, and seeing how they integrate into one another, have allowed me to see the micro details used in order to create verisimilitude.
I have learnt that the rule of thirds is needed in order to keep the audience interested and can now see the extent of how much it is used from studying the clip.
As well as this I can now interpret the sound mixing and how they link to the visuals more effectively to create tension or mystery.
·0-7 seconds – Establishing shot andTracking of plane in the sky (obviously filmed in another plane). Shows remote mountainouslocation, very isolated.
·7-14 seconds – Close up shot of the doctor, then pans across and zooms in on man holding hostages shot from about waste height and a slightly high angle. Inside plane, gun is visible in man’s hand.
·14-17 seconds - Long shot of hostages on knees and man threatening them standing with gun on the plane from the opposite side. POV of other kidnappers looking at leader, handy cam.
·17-20 seconds – Close up shot of a kidnapper opening the plane door from behind the leader with his hip in shot from waste level again
·20-25 seconds – Back to POV shot from kidnappers
·25-29 seconds – Long shot, also moving forward/tracking forwards while kidnappers put first hostage head out the door.
·29-32 seconds – Shot from outside the plane, low angle from above, long shot shows outside of the plane and the head of the hostage
·32-35 seconds – Close up shot of kidnapper holding gun to hostages head outside the plane
·35-37 seconds – Medium static shot of inside of plane to show the hostages on their knees and the other kidnappers standing watching.
·37-38 seconds –Close up shot again of kidnapper firing gun outside plane next to hostage head
·38-42 seconds – medium shot of kidnapper from inside the plane pulling hostage out of the door. Also quite jittery use of handy cam creates verisimilitude on plane.
·42-44 seconds – medium shot looking up at kidnapper from low angle while he is shouting at hostages. Also very windy.
·44-48 seconds – Another medium shot from same position of kidnapper holding the second hostage’s head out of the plane threatening him with a gun again
·48-53 seconds – Close up of kidnapper interrogating the hostage with his head out the plane door, asks more questions this time.
·53-1.00 seconds – Shot goes back to previous mid shot but then the handy cam tracks the kidnapper as he walks back over to the hostage who is speaking to him saying ‘Well perhaps he’s wondering why one would shoot a man before throwing him out of a plane’.
·1.00-1.06 minutes – Shot to opposite side of the plane long shot behind the hostage on he’s knees, then zooms in towards kidnapper and the conversation.
·1.06-1.12 minutes – High angle shot mid shot of kidnapper on his knees while he is talking, looking diagonally at him, kidnapper’s waste line is visible.
·1.12-1.14 minutes – Over the shoulder close up shot from hostage with bag on his head to the kidnapper, shows his reaction as he leans forward to lift bag off his head.
·1.14-1.16 minutes -Over the shoulder close up shot from kidnapper as he reaches to take off the bag
·1.16-1.18 minutes – Back to same shot from hostage
·1.18-1.22 minutes – Back to same shot from kidnapper but takes the bag off and a slow zoom to a close up on hostage’s (Bane’s) face
·1.22-1.26 minutes – Back to over the shoulder close up from Bane. During conversation
·1.26 -1.28 minutes –Back to kidnapper’s shot. During conversation
·1.28 -1.29 minutes - Back to over the shoulder close up from Bane. During conversation
·1.29-1.31 minutes - Back to kidnapper’s shot. During conversation
·1.31-1.34 minutes – Establishing tracking shot of plane from outside and a low angle looking down. Displays that they are still in an isolated mountainous region
·1.34-1.37 minutes – - Back to over the shoulder close up from Bane. During conversation
·1.37-1.38 minutes – Close up shot of Bane’s reply in the conversation, cannot see the kidnapper
·1.38-1.46 minutes – Establishing shot outside the plane, tracks it round until the bigger plane until it blocks the smaller plane (the one where the scene is taking place on). Also Bane’s voice can be heard over sound of planes.
·1.46-1.49 minutes - Close up shot of Bane while he asks the doctor a question
·1.49-1.51 minutes – Medium shot down the plane to where the doctor is sitting in one of the seats in the isle, other chairs and kidnappers are visible
·1.51-1.53 minutes – Close up of Bane’s reaction to the doctor’s reply. His frustration is clear
·1.53-1.57 minutes – Establishing shot of the outside of the plane low angle shot from above, focus is on the bigger plane however the smaller plane is also in shot
·1.57-2.00 minutes – Establishing shot switches to the other side of the plane and gives a high angle shot from below the big plane Soundtrack At the beginning of the clip the sound of the planes engine is heard and non diegetic music can be heard faintly behind it. Once inside the plane another layer of dialogue is added to the soundmix, although the sound of the plane and the non diegetic music can be heard the dialogue is clear and easy to understand this is through the use of selective sound. At 0.18 when the plane door is opened the sound of fast winds is turned up and while the characters begin shouting rather than talking, their voices are also clear and easy to understand. At 0.37 sound effect is used for the sound of the gun firing. 0.51 is the first time the character Bane's voice is heard, it is far more clear and profound than the other characters, this is to connote the mechanical sound of his voice as it is a massive part of his character, shows his significance. At 1.40 selective sound is used as the sound of the bigger plane is very loud, showing Bane's power as he has now taken control of the situation and his plan is coming into action. Evaluation of Technical Analysis From studying the clip from a shot by shot method, I believe it has helped me gain gain greater knowledge of the importance of varieties of shots and the effectiveness of using a handy cam to create verisimilitude. I have also learnt the importance of the use of sound. Throughout a clip you must maintain the right sound level within the layers as otherwise they will effect each other. When this is done well the sound creates enigma and tension.
