https://www.youtube.com/watch?v=r3sTJuajBF8
The scene I chose to analyze, is from the movie Brick. Written and directed by Rian Johnson and stars Joseph Gordon-Levitt.
This scene begins with JGL pacing, entering the frame from the right side. Simultaneous to this action is the movement of the camera dollying backwards, slowly. As JGL re-enters the frame, he stops in the middle, which coincidentally becomes a long shot, as the camera continues its motion. JGL's gaze towards the direction of the camera, cuts to a wide shot of a beautiful, black Ford Shelby Mustang. The camera remains static in that shot, as JGL enters the frame and walks toward it and stops at the foreground. As he resumes walking toward the car, the camera cuts to a CU of the window. JGL enters the frame and peaks through. The image of his reflection on the car window isn't only a beautiful choice by the director/cinematographer, but it adds to the story as well. The psyche of JGL's character figuring out how to get inside of it, is reflected on the window. The camera cuts out to the previous wide shot of the car, and moments after, JGL enters from the right side of the frame carrying a huge rock-- his solution to the problem. He raises the rock over his head, as the camera cuts to MCU of JGL from shoulder up, arms raised, cocking back the huge rock to implement some damage. As he's about to strike down, he notices something, and looks toward the direction, behind the camera. Cut to a long shot of an angry looking buff dude, speed walking toward JGL's direction, arms flexed and fists clinched. The 180 degree rule comes to effect, as the camera cuts back to JGL, still holding the rock above his head, but now having his eyes fixed to the man coming for him. The camera cuts back another time, and when it returns to the man, he approaches closer. The next time it cuts to JGL, he drops the rock nonchalantly and exits frame right. When the camera cuts back to the angry man, a shakiness quality is now added for some intensity, as it slowly dollies back to include a two shot with JGL coming into frame, standing in front of the car to wait for the man. The camera stops when JGL stops. The man finally gets to JGL and strikes him in the face. The camera movement during that moment is very dynamic. As the man raises his fist, the camera does a small, quick zoom out, and as he strikes JGL, it does a very fast zoom in and CU. As JGL falls, the man walks over him and reaches for his keys to get into the car. The next shot is of the camera following JGL as he gets up from the ground to try to stop the man. Each time he falls, the camera follows that direction. But not where he lands onto the ground, just where he falls out of frame. As he speeds away, JGL re-enters the frame and immediately throws something toward the car speeding away. Just as soon as he "releases" the thing, it cuts to the car, swerving and the sound of metal clink. The car comes to an abrupt stop, as the camera cuts to a MCU of JGL's profile looking out toward the car. The camera cuts back to car now in a wide shot, and then it speeds off. The camera stays in that shot as the car speeds away, becoming smaller and smaller. Intercuts of JGL in that same MCU, but is now being followed by camera as he walks. A cool suspense is created with the contrast of MCU follow of JGL walking and cutting back to the same shot of when car sped off. That same wide, long shot, eventually reveals that the car only wanted to have as much runway to speed back around toward JGL, which looks like it is trying to go as fast as it can and ram into him. The next few cuts are back and forths from JGL's bloodied, determined face staring right at the car, unafraid, to now a close up of the front of the speeding car headed for him. Again, the use of movement vs static, creates a nice tension, leading the audience to believe that JGL is about to get ran over. As the impact becomes inevitable, the camera goes on a long shot, with JGL's full body showing to the right of the frame. The car zooms in from left frame in seconds, and a quick cut to a CU of JGL's hand inches away from the speeding car is shot to show, he was not getting hit. Cut to a CU of JGL's face in the foreground, eyes closed, seemingly relieved, and the car in the background, blurry, screeching to a stop. JGL opening his eyes, motivates a cut into the interior of car, where it shows the driver in medium shot looking disturbed. The shot stays there as JGL enters the scene, but being shown on the outside of the car approaching the driver window. He eventually knocks on the window, as the driver begrudgingly rolls down the window, finally defeated. The scene concludes with a wide shot of a road, as the Shelby Mustang comes screeching into frame, to depict JGL's character got what he wanted.
This scene to me, is about JGL's character showing resilience and fortitude, and with smart, interesting cuts, contrasts between long shot and close ups, movement vs stillness, the director successfully depicted that with added suspense and intensity.
Comments
Post a Comment