For this task I’d like to talk about one of my favourite films called ‘Dead Man’s Shoes’. The story is about a paratrooper called Paddy Considine, who has left the army to seek revenge on a gang of thugs, who have been tormenting his younger mentally challenged brother. The scene I’ve chosen is a sensitive scene involving both of the brothers. They are both sat down in a grassy field discussing a fond past memory of when Paddy attended Anthony’s (his Brother’s) school run.
The scene starts with an extreme close up on Paddy’s face, which switches to Anthony. Then to a wide shot of the two of them sat down back to back on some tractor tyres. Throughout the conversation they stick to the 180 deg line of action rule. The wide shot is also on the same side as the close up shots were taken from no to ruin the integrity of the scene. The wide shot is taken from a slight angle above the characters; this could imply the sensitivity of the scene and their vulnerability at this stage in the film.
The camera doesn’t always change to a close up; if the other character has minimal response to the previous statement the shot will remain on the first character. As the second character is always visible due to back to back stance they are both in throughout the scene. This I feel adds to the individual’s perception of the scene and adds realism to the conversation, allowing the viewer to become more involved.
The whole conversation consists of two camera angles, apart from the initial wide shot depicting the scene for the viewer. This adds to the intensity of the conversation and unlike the rest of the film the camera doesn’t need to do a lot of work as the scene itself is rather intense, and relies mainly on the script to convey the emotion.
The rule of thirds does come into play with the angled wide shot as the two characters fall within the inner third. This is then continually demonstrated throughout the conversation, retaining the continuity and honesty within the scene.
The scene then cuts to the journey of the thugs, making their way home. This is depicted with 7 shots ending with a resolving 8th shot outside the thug’s home. The first shot is about waist height showing the three thugs walking into the distance away from camera. The three thugs also fall exactly on the rule of thirds lines.
It then cuts to another still camera taking a wide long shot, as the thugs move from right to left on a country road. The thug’s scenes are all shot in real-time, this is a really effective way to emphasise the distance and time past since they began their journey. The journey is shot with music over the top, because of the lack of dialogue the viewer focuses more on the characters plodding along from a series of slightly drawn out long shots.
The sequence ends after the thugs reach their destination, as the last scene shows the curtains being drawn from a long shot outside the house. The house falls under the rule of thirds as it sits in the right hand side third throughout. The music fades then the scene ends.
No comments:
Post a Comment