Blog Post # 6 - April 9th, 2011

SHOT LIST

Production Title: L.A. Confidential

Director: Curtis Hanson

Cinematographer: Dante Spinotti

SHOT #	LOCATION	SHOT TYPE	CAMERA ANGLE	CAMERA MOVEMENT	SHOT DESCRIPTION (subject, action, lighting, etc.)
#1	Int.	2S - MCU	EL	None	Int. Restaurant, Exley & Vincennes see a person of interest in a case.
#2	Int.	LS	LA	Trucking	Int. Restaurant, Exley & Vincennes approach a person of interest and Lana Turner. The camera moves from the right to the left to show who the detectives are headed to speak with.
#3	Int.	MCU	HA	None	Int. Restaurant, a high-angle over the shoulder shot show the detectives begin to speak with the couple at the table.
#4	Int.	3S - MCU	EL	None	Int. Restaurant, Exley addresses Lana Turner thinking she is a prostitute.
#5	Int.	MCU	HA	None	Int. Restaurant, shot #4 cuts back to a shot very similar to #3 as the conversation continues.
#6	Int.	2S - MCU	LA	Stedicam	Int. Restaurant, as Exley, looks down at Lana Turner and insults her again as it starts as he leans right, the camera moves about a foot to the right as well to keep both Exley and Vincennes in the shot to keep a nice balance. It is close to a POV view shot but as Exley looks to left from the camera, it is obvious that the camera does not have Lana Turner’s POV. I’m not 100% on the camera movement term but it seems too small and too confined to be a trucking/tracking shot and still to smooth and high-grade to be handheld so I am assuming it must be a stedicam operator in the booth make a smooth move from the right to the left in this shot.
#7	Int.	MCU	LA	None	Int. Restaurant, the same shot as #3 and #5, Exley is told to stop by the man of the couple as Exley finishes his insult and Vincennes reveals to Exley that the woman is actually Lana Turner.
#8	Int.	2S - MCU	LA	None	Int. Restaurant, this shot is a continuation of shot #6, Vincennes again tells Exley that he has insulted Lana Turner
#9	Int.	CU	POV	None	Int. Restaurant, a close-up of character playing Lana Turner shows her disgusted and looking at the camera from presumably Exley’s POV as her beginning movements to throw water in Exley’s face are shown in this shot. Shot is also a great example of a reaction shot.
#10	Int.	2S	LA	None	Int. Restaurant, Exley gets water thrown into his face for insulting Lana Turner as this shot continues from shot #6 and #8.
#11	Ext.	LS	EL	Trucking	Ext. Sidewalk across from the street from the restaurant. After the prior conversation, the shot starts out in front of the car with the detectives walking back to the car. Exley asks how he was supposed to know the woman was Lana Turner. As they get near the car, the camera begins to truck to from right to left and stops once it is even with the front seat windows, which are rolled down. Once the camera settles and the characters are seated, character movement has changed the shot from the initial long shot to a medium close-up as they begin to laugh at the whole conversation.
#12	Ext.	EST - LS	EL	None	Ext. Pierce Patchett’s house, Once the Lana Turner scene has ended the next shot is an establishing shot of the following scene showing Pierce Patchett’s house obviously insinuating that the next scene is to include Patchett’s home.

Blog Post # 5 - April 2nd, 2011

Cinematography: American Beauty


Q: Determine whether or not the cinematographic aspects of the film—the qualities of the film stock, lighting, lenses, framing, angles, camera movement, and use of long takes—add up to an overall look. If so, try to describe its qualities.


A: The cinematographic aspects of this film do indeed add up to the overall look that is present within the film. Based on certain scenes, the film stock have been fast at times and slow during certain scenes as there is very low light in certain scenes of the film where fast film stock very well worked in the low light. As referenced, there are times where shadows and low light are used in the film while at other points, there is very bright and vibrant lighting and decor within the scenes. Lester's dream encounters and his actually encounter with Angela had much more low-key lighting as did the scenes within the Fitts' home. While the idea or belief of a normal, suburban life had a high-key lighting to it. The film seems to exhibit a normal array of camera angles and framing throughout in the film, nothing different comes to mind at the moment involving the angles and framing. The film has much camera movement and long takes during certain conversations and also to depict some symbolism, suspense, and even mystery in the process throughout the film.


Q: Take note of moments in the film in which the images are conveying information that is not reflected in characters’ action and dialogue. These moments are often crucial to the development of a movie’s themes, narrative, and meaning.


A: Images of the red are prevalent throughout the film with the familiar image of roses as well as the Burnham's door being red while the rest of the house is blue or white. 

Another major example in the film is when you first see Lester's office. First off, a shot has his work resembling a jail cell. This shot establishes the fact that he is trapped or stuck in this life he finds to be unhappy and quite miserable.

Also, a paper posted at his desk says "Look closer" implying that things seems fine and great and ordinary but when one would look closer at his family and his life, it is anything but ordinary, as he explains to Col. Fitts near the end of the film.

Q: Pay close attention to the length of shots in the film. Is there a recognizable pattern? Are long takes used? To what extent? For what purpose?


A: The pattern I'm noticing is that there are not many long takes used throughout the film and rather many amazingly shot and edited takes for a very smooth film. I think there was a legitimate purpose to not having very many long shots if any.


Q: Keep track of instances in which the film uses shots other than the medium shot (MS)—for instance, extreme close-ups (ECUs) or extreme long shots (ELSs). What role are these shots playing in the film?


A: These shots are breaking away from the norm to give the audience a complete look at a character's expressions, reactions, and feeling up close and personal to truly see and feel what the character is doing or saying, for example in both cases where Carolyn is screaming by herself. Long shots could be using much symbolism in many ways throughout the film or for establishing shots like when they use the long shots to show the Burnham's at dinner or the Fitts' watching TV. Both shots do establish what the families are doing but also both shots symbolize the current state of the families and their relationships with one another.


Q: Also keep track of camera angles other than eye-level shots. If there are high- or low-angle shots, determine whether or not they are POV shots. That is, is the high or low angle meant to represent another character’s point of view? If so, what does the angle convey about that character’s state of mind? If not, what does it convey about the person or thing in the frame?


A: From what I remember, I cannot really remember how many shots were not eye level and if there was it obviously was not very rememberable for me to remember in this case.


Q: As you evaluate crucial scenes, pay attention to the composition of shots within the scene. Are the compositions balanced in a way that conforms to the rule of thirds, or are the elements within the frame arranged in a less “painterly” composition? In either case, try to describe how the composition contributes to the scene overall.


A: The composition seemed to be balanced in the crucial scenes of the film. This composition contributes greatly to those scenes overall because it brings a smoothness to those scenes and keeps it in the same tight, balanced composition that it is throughout the film.


Q: Pay attention to camera movement in the film. Sometimes camera movement is used solely to produce visual excitement or to demonstrate technological virtuosity on the part of the filmmaker. Other times it is playing an important functional role in the film’s narrative. Be alert to these differences, and take note of meaningful uses of camera movement.


A: As continually referenced there was camera movement in case of the camera moving the characters out of frame for symbols, setting, and transition. The most meaningful use of camera movement in the film is near the end of the film and builds much suspense. The scene where Lester is at a table looking at a picture of his family when they all were happy and then out of nowhere, a gun is pointed directly behind his head and the camera moves left putting everything out of frame but the wall which subsequently is covered in blood after a gunshot is heard.


Q: Note when the cinematography calls attention to itself. Is this a mistake or misjudgment on the filmmakers’ part, or is it intentional? If intentional, what purpose is served by making the cinematography so noticeable?


A: From what I saw, only certain scenes where no characters are within the scene was the cinematography calling attention to itself. I believe it was very intentional to as I've continually referenced, to establish more characterization and symbolism within the film itself and I believe it helped it overall within the film.