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Film

Film. Mise en Scene. How objects are framed in a shot; each shot and all objects in it are carefully placed, balanced, and planned This is why you should always watch movies in widescreen!. Artfully-composed shot from Atonement Also low-key lighting.

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Film

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  1. Film

  2. Mise en Scene • How objects are framed in a shot; each shot and all objects in it are carefully placed, balanced, and planned • This is why you should always watch movies in widescreen! Artfully-composed shot from Atonement Also low-key lighting. http://weblogs.variety.com/photos/uncategorized/2007/12/13/atonementarch.jpg

  3. All three of these are carefully crafted shots that demonstrate mise en scene balance and how the artistry of a shot is lost if cut to fit a television screen. http://maximumbob.wordpress.com/2006/11/28/the-pleasantville-lesson-plan/ http://www.zone-sf.com/images/village3.jpg http://www-cs-students.stanford.edu/~eliang/pics/acting/cthd1.jpg

  4. The frame/mise en scene dictates how you see the subjects; the director can manipulate you subconsciously. In The Matrix, Trinity is high above Mr. Smith and appears to be dominant (because of the low-angle of the shot), but . . . she is placed in the upper left corner of the frame with no where to run; Mr. Smith dominates the frame because he takes up nearly 50% of it. Thus, he is intimidating—it creates suspense. Will she get away? http://weblogs.variety.com/photos/uncategorized/2007/12/13/eastern_promises_4.jpg In Eastern Promises, Viggo Mortensen clearly has the hots for Emily Watts—a deliberate subliminal message. http://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high-key%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DG

  5. Establishing Shot: sets the scene • http://www.depauw.edu/acad/film/Dictionary.asp http://maximumbob.wordpress.com/2006/11/28/the-pleasantville-lesson-plan/ http://home.att.net/~disneyparkfan5/dlpphantommanor.gif http://www.cgexplorer.com/_sys/images/lord-of-the-rings-matte.jpg

  6. Long Shot (LS) or Full Shot Full length of the body is shown http://weblogs.variety.com/thompsononhollywood/global_cinema/index.html Above is a good example of mise en scene and high-key lighting. http://weblogs.variety.com/photos/uncategorized/2007/12/13/nocountry1.jpg

  7. Medium Shot (MS): Waist up http://www.lostsoulwolverine.com/gallery/g321.jpg http://www.marvel.com/news/moviestories.2060.Iron_Works%3A_2_New_Iron_Man_Movie_Photos

  8. Close Up (CU): subject =80%

  9. http://www.international.ucla.edu/cms/images/namesake_domestic1_375204.jpghttp://www.international.ucla.edu/cms/images/namesake_domestic1_375204.jpg Extreme Close-up The “Part(s) of a Whole” shot http://images.google.com/imgres?imgurl=http://pro.corbis.com/images/42-15509946.jpg%3Fsize%3D572%26uid%3D%257BD1C3BA28-BCD3-4D59-AAFB-B514FC5A3A6D%257D&imgrefurl=http://pro.corbis.com/search/Enlargement.aspx%3FCID%3Disg%26mediauid%3DD1C3BA28-BCD3-4D59-AAFB-B514FC5A3A6D&h=400&w=400&sz=30&hl=en&start=9&um=1&tbnid=2dYs889xbuVVoM:&tbnh=124&tbnw=124&prev=/images%3Fq%3D%2522extreme%2Bclose-up%2522%26um%3D1%26hl%3Den%26safe%3Dstrict%26sa%3DN http://www.littlestregular.com/blog/uploaded_images/vagun-721260.jpg

  10. Two Shot Both subjects equal http://blog.oregonlive.com/idiotbox/2008/03/large_sun%20jin.jpg Usually reserved for lovers, close friends, or enemies. Highlights emotion whether of love or anger. Distance between actors is important & can be manipulated for effect also. http://tvfilter.spaces.live.com/Blog/cns!DB9D137CC0F754C9!25231.entry

  11. High Angle traps the subject; creates vulnerability; they are weak, powerless http://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high-key%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DG http://www.depauw.edu/acad/film/Dictionary.asp

  12. The high angle & bars of light dramatically trap the subject. http://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high- ey%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DG

  13. http://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high-key%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DGhttp://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high-key%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DG Shot of Trinity looking down on Mr. Smith in The Matrix and a cute, vulnerable puppy. At right, in Signs, the family is trapped as they hear aliens on their roof and possibly breaking through into the attic—scary! http://www.word-on-the-web.co.uk/films/signs.htm

  14. Low Angle subject appears strong, powerful, dominant http://img2.timeinc.net/ew/dynamic/imgs/031204/143124__big_l.jpg http://www.depauw.edu/acad/film/Dictionary.asp http://images.google.com/imgres?imgurl=http://www.hollywoodjesus.com/movies/spiderman3/spiderman3-004.jpg&imgrefurl=http://www.hollywoodjesus.com/movieDetail.cfm/i/01ED9B6C-9C48-52C2-7E1096D7CA281F5B/ia/57215751-9864-C69A-DAB64A1B1B0CDE57&h=192&w=420&sz=36&hl=en&start=36&um=1&tbnid=duX2BByJ9Ixp5M:&tbnh=57&tbnw=125&prev=/images%3Fq%3D%2522Spiderman%2B3%2522%2Bvillian%26start%3D20%26ndsp%3D20%26um%3D1%26hl%3Den%26safe%3Dstrict%26sa%3DN Also low-key lighting on villain Thomas Haden Church from SpiderMan 3

  15. What level are these taken from? Most shots are taken from eye-level as it is more natural; anything lower or higher alters how we perceive the subject ALL IMAGES FROM: http://www.telegraph.co.uk/arts/graphics/2008/05/02/bfiron.jpg

  16. Oblique Angle • Unnatural, disorienting. • When characters have been drugged, beat up, or are drunk, oblique angles capture this eerie, unsettling feeling well. The photo of the Clintons could be used as negative campaign propaganda because even though they are smiling, the oblique angle suggests that there is something off about them, they appear to be reckless. http://latimesblogs.latimes.com/washington/speeches/ http://farm1.static.flickr.com/213/452187281_dfde970ccc.jpg?v=0

  17. Lighting

  18. High Key Lighting • High contrast light • Bright, colorful • Comedies, musicals, romantic comedies http://www.geocities.com/hollywood/set/6172/photos/austin16.jpg http://media.movieweb.com/galleries/509/4/lo/cog.jpg

  19. http://graphics8.nytimes.com/images/2007/11/21/arts/21ench600.jpghttp://graphics8.nytimes.com/images/2007/11/21/arts/21ench600.jpg The shot above from Enchanted is a good example of mise en scene and balance in the frame. http://weblogs.variety.com/photos/uncategorized/2007/12/13/hairspraymusical395.jpg Above Hairspray and worth watching to see John Travolta as a woman. http://www.regenttheatre.com/events/images/mary_poppins.jpg

  20. Low Key Lighting • Low contrast light • generally dark to create a dark tone • horror, drama, thrillers, action, westerns http://www.depauw.edu/acad/film/Dictionary.asp http://images.google.com/imgres?imgurl=http://moviesmedia.ign.com/movies/image/riddick-diesel-vanwageningen_1086911286.jpg&imgrefurl=http://movies.ign.com/articles/522/522627p1.html&h=301&w=450&sz=47&hl=en&start=16&um=1&tbnid=elB7iknFbQUkGM:&tbnh=85&tbnw=127&prev=/images%3Fq%3DRiddick%26um%3D1%26hl%3Den%26rlz%3D1T4SUNA_enUS232US233%26sa%3DN http://www.firstshowing.net/2007/02/14/top-12-movies-in-history-that-were-ahead-of-their-time/ http://www.depauw.edu/acad/film/Dictionary.asp

  21. More Low-key lighting HIGH-KEY http://www.reelingreviews.com/charlieandthechocolatefactorypic.jpg Some movies employ both types of lighting for various scenes, but usually as a whole they are one or the other. Much of Jurassic Park is high-key but the scarier scenes are low-key; things are simply scarier when dark. http://www.firstshowing.net/2007/02/14/top-12-movies-in-history-that-were-ahead-of-their-time/ Tim Burton’s films tend to be low-key but not all: some of Charlie and the Chocolate Factory as well as parts of Edward Scissorhands is very high-key. Notice Johnny Depp in both: one bright, one dominated by grays with hints of red to underscore the violence of Sweeny Todd. http://weblogs.variety.com/photos/uncategorized/2007/12/13/sweeneygold600_2.jpg

  22. Bottom, side lighting: scary, mysterious, & intimidating http://images.google.com/imgres?imgurl=http://www.screensite.org/courses/Jbutler/T112/ManWhoWasntThere08.jpg&imgrefurl=http://www.screensite.org/courses/Jbutler/T440/VisualStyleIllustrations.htm&h=540&w=960&sz=32&hl=en&start=4&tbnid=7FHPySSEfgN4HM:&tbnh=83&tbnw=148&prev=/images%3Fq%3Dmovie%2B%2522high-key%2Blighting%2522%26hl%3Den%26safe%3Dstrict%26sa%3DG

  23. Front or back lighting: halo effect The light behind a subject gives off an other-worldly, positive feeling toward the subject(s). Jeff Bridges at right is from another world (Starman) http://www.tk421.net/lotr/film/ttt/23.html http://www.filmreference.com/images/sjff_03_img0976.jpg

  24. Editing Techniques • After shooting hours and hours of scenes, the film is literally CUT and spliced back together. The reason for the clapboard below is that it creates a visual marker on the film for the editors to find between takes. It has since become easier with digital.

  25. Famous scene storyboard from North by Northwest by Alfred Hitchcock http://www.michaelspornanimation.com/splog/?m=200712&paged=2

  26. Notice that these are all “eye-line match” shots: he looks at his watch, it cuts to him; he looks to his left, then to his right. Then we see him again in a full shot; he sees the truck come down the road toward him from his left.

  27. Fade • Fade in . . . Or fade out. http://www.yxine.com/upload/25112005/f1.jpg

  28. Dissolve http://www.shotaddict.com/wordpress/wp-content/uploads/2006/12/nyc_financial-district_coln.jpg

  29. Wipe http://blogs.guardian.co.uk/film/2007/05/13-week/ http://img2.timeinc.net/ew/dynamic/imgs/040713/165732__starwars_l.jpg

  30. Shot-reverse-shot • http://www.solutioneers.net/cinema/axis.htm Homicide (1949). http://www.davidbordwell.net/blog/?p=382 Maltese Falcon to the right; Lord of the Rings: Two Towers at left http://www.tk421.net/lotr/film/ttt/23.html

  31. Cross Cutting http://seattlest.com/attachments/seattle_michael2/Macbeth.jpg A shot of the castle and then of soldiers marching implies the soldiers are marching toward the castle. A shot of a nervous king inside the castle implies he knows the army is outside to take him down. The editor can cut these together: inside castle, outside castle, and inside again and back and forth to make the final clash, such as in MacBeth, more dramatic. (Like saying, “meanwhile” or “on the other side of town”)

  32. Cross-cutting is generally used to show characters all doing things separately; often you follow the bad guys and what they are doing and the good guys hot on their trail. Eventually they all meet up. Star Wars and the Lord of the Rings II & III use this as the characters or groups fulfill their duties. (E.g. “Lost” episode "Ji Yeon”) http://www.theargonath.cc/pictures/fsg/fsg11.jpg http://movies.yahoo.com/movie/contributor/1800018602/photo/448727

  33. Eye-Line match http://maximumbob.wordpress.com/2006/11/28/the-pleasantville-lesson-plan/ A shot of Toby McGuire and a shot of the teacher talking implies he is looking at her and maybe listening. A shot at him and then of the clock indicates he is bored and hoping to get out of class.

  34. Sound • Diegetic: sound that could logically be heard by the characters in the film. Examples: music on restaurant stereo, car stereo, fans humming, people’s conversations, tea cups clinking, screams, phone ring • Non-Diegetic: sound that cannot be heard by the characters but is designed for audience reaction only. Examples ominous music for foreshadowing in horror flick, sweeping grand music for lovers’ kiss; used for emphasis and adds emotion and feeling in the audience

  35. Changing sound can affect how you react to the visual; notice how changing music changes the TONE http://cache.viewimages.com/xc/72342664.jpg?v=1&c=ViewImages&k=2&d=D7D5341DF8CB2C36CC12CC19055A4869284831B75F48EF45

  36. Also consider the following as a movie trailer for Mary Poppins: a little clever editing and some creepy music and it’s no longer a typical feel-good Disney flick. www.youtube.com/watch?v=2T5_0AGdFic

  37. Storyboarding: a director’s sketched plan http://www.vintageip.com/terms-storyboard.html

  38. So, basically . . . A screenwriter’s job is to write the content of the story; he/she releases it to the director to bring to life. A director’s job is to direct the camera and the actors in front of the camera; he composes each shot. Editing, sound, lighting, special effects, etc. is all part of what the director supervises but these are jobs other people do for him/her.

  39. Website with copies of some popular movies and their entire screenplay for your use as models: • http://sfy.ru/ This is a link to a clip from Pride & Prejudice: what techniques can you find in lighting, editing, angles, framing, etc.? • http://www.imdb.com/video/screenplay/vi2360279321/

  40. Screenwriting terms

  41. FADE IN/FADE OUT: Terms typically used at the beginning or end of a scene. Readers would know that the beginning of a script involves fading in on a scene, so FADE IN is sometimes redundant. FADE OUT, however, can be useful to signify the end of a complex scene that has many different locations. http://misterneil.blogspot.com/2008/01/deep-red.html

  42. Sluglines (also called scene headings, headings, and scene captions): • These lines answer three important questions: Are we inside (INT) or outside (EXT)? Where exactly are we? What time is it? In most cases, screenwriters simply use DAY or NIGHT, but there are times when you might want to use DUSK, EVENING, or MORNING. Sluglines are always capitalized.

  43. Bourne Identity (2002) by Tony Gilroy. Based on the novel by Robert Ludlum.Paris Draft, 9/20/00. DARKNESS. THE SOUND OF WIND AND SPRAY. MUSIC. TITLES. EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -- weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with a gaff -- something in the water -- A HUMAN CORPSE. EXT. FISHING BOAT DECK -- NIGHT

  44. Action Lines • These lines immediately follow the sluglines, setting the scene for what is about to happen. Action lines explain in visual terms what happens in the scene. Use short, declarative sentences. • Example: Joe arrives at the car. The fisherman finding the body from the previous example are action lines.

  45. CUT TO • In between every scene (not every shot), include a CUT TO: in the left margin, with a space before and after. You can use other transitions as well. This tells the director where the next scene will take place.

  46. So I Married an Axe Murderer EXT. SAN FRANCISCO STREETS The sights and the sounds of the city are accentuated by the BEBOP as he sees life, warts and all. As the streets become less populated, he can now hear the sounds of his own FOOTSTEPS and, a COUPLE BICKERING. The streets become even more deserted. The night is closing in on him. A cat darts out from an alleyway and startles him. He quickens his pace. RUMBLINGS make him cross the street to avoid the danger. Headlights of a slow moving car approach from the distance. Charlie, frightened, turns another corner onto: HIS STREET He approaches a 3-story Victorian home, in which he has an apartment on the second floor, he notices a light on in his window. A CRASHING sound from within. CUT TO: HANDS taking papers out of a desk drawer. CUT TO: CHARLIE carefully opening the front door and then gingerly closing it. He reaches for a baseball bat in a nearby umbrella stand. Sound of BREAKING GLASS from his apartment upstairs. CUT BACK TO: SHATTERED PICTURE FRAME with a photo of Charlie and an angelic blonde.

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