Steven Spielberg and Janusz Kaminski. Masters. This film went into pre-production in August 2004, with shooting dates of December 8, 2004 through March 7, 2005. It was released, June 29, 2005. Thin about that and the scope of the film. 10 Months from Pre-production to Theatrical Release. This is because these guys know exactly what their doing and why it’s so important to understand the art of filmmaking.

The Machines.

War of the Worlds is a 2005 science fiction disaster film based on H. G. Wells’ original novel starring Tom Cruise and Dakota Fanning. It was directed by Steven Spielberg and written by Josh Friedman and David Koepp. It was released on June 29, 2005.

If you are serious about learning the art of film’s visual language, keep in mind this Quote from Steven Spielberg:

“I’m more interested in concept shots and money shots than I am in tons of MTV coverage, which certainly takes a lot of time. But if I can put something on the screen that is sustained where you get to study it and you get to say, ‘How did they do that?’ That’s happening before my eyes and the shot’s not over yet, it’s still going and it’s still going and my God, it’s an effects shot and it’s lasting seemingly forever. I enjoy that more than creating illusion with sixteen different camera angles, where no shot lasts longer than six seconds on the screen. To pull a rabbit out of a hat, because you are really a smart audience and you’re in the fastest media, the fastest growing new media today and you know the difference between sleight of hand visually and the real thing. I think what makes War of the Worlds, at least the version that we’re making, really exciting, is you get to really see what’s happening. There’s not a lot of visual tricks. We tell it like it is, we show it to you, and we put you inside the experience.”

War of the Worlds

I want you to look for certain elements and techniques, as I have noted in the breakdown.

Camera Angles - One of the hardest things to absorb is the 180/30 Axis and Line rules (Google it), Spielberg wields his wand and smacks the line around, using angles that flirt with the line.

Hand Held - The camera is the mind of Tom Cruise’s character. His mind races, as does the camera. The camera dictates to the audience and Tom what we’re going to do next.

Alright check it out, I have to get back to writing my feature.

The original theatrical One Sheet.

The movie starred Keith Gordon as Arnie Cunningham, the typical high school nerd with only one friend, a childhood companion named Dennis Guilder (John Stockwell, who is a director now; Turistas (2006), Into the Blue (2005)) a popular jock. Arnie’s life changes when he discovers Christine, a red 1958 Plymouth Fury. Arnie begins to restore Christine to her original beauty, but as he spends more and more of his time repairing her, those in his life notice that he is changing as well.

Arnie metamorphoses from timid and insecure to confident and assured. But this transformation is filled with an evil streak and a very jealous, supernaturally possessed car.

As the film develops, we discover the car the car has a deadly past. The previous owner, Roland LeBay, became consumed with Christine and he paid for it with his life. Dennis and Arnie’s new girlfriend, Leigh, played by Alexandra Paul, try to save Arnie from a similar fate. They realize that the only way to save Arnie is by destroying Christine. Christine, however, isn’t ready to give up Arnie without a fight.

I thought this was Carpenter’s last real good work and showed him at the top of his game in visual terms. After that, he seemed to have lost the edge. As much as I like his body of work, yes, even Vampires and Ghost of Mars, Carpenter seems to have peaked with this film. His glory years being from 1976 to 1983 when we were given the masterpieces The Thing, Escape from New York, The Fog (okay, campy, I know, but I love it), Halloween and Assault on Precinct 13, Carpenter gives us such wonderful visual language and efficiency in this film. A true Auteur of his time.

What I want to look at in the following scene, is Carpenter’s use of the P.O.V., Blocking and impressively, his use of generally longer takes that keeps the camera moving and actors staging in a constant flux, changing the frame and composition.

Finest smell in the world, except for maybe …

What appears on the surface as a fairly straightforward scene, with Arnie seeing Christine for the first time and getting out of the car to check her out and ultimately purchase her is much, much more. This is love at first sight for Arnie and the catalyst for the rest of the film’s plot and ultimate climax.

Now, I cannot find the Script online anywhere, but remember, Arnie and Dennis are getting out of their car to look at another car. Watch what Carpenter does with it. You’ll see that he is (was?) a true master of the game, one in which I felt he always spoke the same language as his contemporaries (Spielberg, De Palma, Scorsese …).

Now let’s break it down. You can watch the scene in it’s entirety at the end of this page.

Now watch the scene and see it in action. Get past the Buddy Reperton scene and you can view the scene in its entirety.

Next time out shooting, keep in mind several things. How can you visually excite your audience with limited cuts ? By changing the frame and composition within a single shot using the actors with creative and motivated blocking. It is not only visually exciting, but efficient. It takes much longer to do multiple set ups than it does to take the time to block the scene in one fell swoop.

I hope you enjoyed this breakdown !

“In England, I’m a horror movie director. In Germany, I’m a filmmaker. In the US, I’m a bum.” -John Carpenter

Theatrical One Sheet

Based on the novel by Peter Benchley, Jaws tells the simple story of a small New England town terrorized by a great white shark but it’s in the 2nd act with what starts as a simple horror story turns into a Moby Dick tale at sea fueled by the 3 archetypes of Chief Brody, Matt Hooper, and Quint, our salty Ahab.

As much as it’s been compared to Melville’s Moby Dick, I don’t recall Dick giving people true fear. What Hitch did with Psycho and shower curtains, Spielberg to this day makes me think of what’s underneath me whenever I step foot into the ocean.

The film is perfect and I chose a very simple sequence too look at. A sequence which on the page was 3 sentences long. Keep this is mind all of you ‘page a minute’ sticklers. How would you have shot this ? How many cuts ? You know the drill. Read the quick passage from the script and then let’s have a look at it, shot by shot.

               Quint at ease in his chair, Brody near him, practicing tying
               knots. The line starts to move, a few feet at a time; both
               men watch. Then the line whizzes off the reel.

Now let’s see how Spielberg takes 3 sentences of script and turns into one of the most memorable scenes in film history.

Next time out shooting a scene take a look at the dramatic vibe of the scene. Use your actors eyes and brief hesitation on the their part to delay that ticking bomb about to go off. Sometimes silence works much better than any noises that may be happening; Spielberg uses a simple underscore that is barely audible, like the shark, it is in the background and undercurrent.

I hope you enjoyed this breakdown in my Visual Language series. I always learn something new and hope you do to. Feel free to comment on this article, especially if you saw something I did not or have any questions.

By the way:

There is a killer documentary on JAWS:

THE SHARK IS STILL WORKING

And the TRAILER for it:

Schindler’s List is a 1993 biographical film directed by Steven Spielberg and written by Steven Zaillian, telling the story of Oscar Schindler, a German businessman who saved the lives of more than one thousand Polish Jews during the Holocaust. It was based on the novel Schindler’s Ark by Thomas Keneally, and starred Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel officer Amon Göeth, and Ben Kingsley as Schindler’s accountant Itzhak Stern. The film was both a box office success and recipient of seven Academy Awards, including Best Picture, Best Director and Best Score.

Spielberg, along with long time collaborator Janusz Kaminski shot the film with a sobering mis-en-scène combined with stark black-and-white imagery. The film’s subject matter is king and what leaps out at me is how powerful less is more can be.

From one point perspective to simple head and shoulder turns of an actors body, we will look at the basics of staging and blocking and the visual mastery that ensues when one grasps these essential techniques. You can’t run before you learn to walk, and too many filmmakers, from amateurs to Michael Bay himself just don’t seem to grasp this importance.

Let us look at parallel editing. A cinematic convention in which two or more concurrent scenes are interwoven with each other. Parallel editing illuminates the stark difference between the hardships of the Jews and the comfort and optimism of Schindler and the Nazis in Poland.

Keep in mind, and I’ll remind you at the end; the initial scene would not have the same emotion and impact if shown separately.

Schindler’s List

by Steven Zaillian.
Final draft.

               EXT. CRACOW - DAY

               In BLACK AND WHITE and absolute silence, a suitcase thrown

               from a second story window arcs slowly through the air. As
               it hits the pavement, spilling open -- SOUND ON -- and,
               returning to COLOR --

               Thousands of families pushing barrows through the streets of
               Kazimierz, dragging mattresses over the bridge at Podgorze,
               carrying kettles and fur coats and children on a mass forced
               exodus into the ghetto.

               Crowds of Poles line the sidewalks like spectators on a parade
               route. Some wave. Some take it more soberly, as if sensing
               they may be next.

                                     POLISH GIRL
                         Goodbye, Jews.

EXT. PATIO, GOETH’S VILLA - DAY

               A patio table set with crystal, china, silver. Goeth and
               Hujar are there, in pressed SS uniforms, and two
               industrialists, Bosch and Madritsch. One chair is empty.

                                     HUJAR
                         Your machinery will be moved and
                         installed by the SS at no cost to
                         you. You will pay no rent, no
                         maintenance --

               Hujar glances off, interrupted by Schindler's arrival.

               Although he's never been here, the industrialist comes in
               like he owns the place. All but Goeth rise.

                                     SCHINDLER
                         No, no, come on, sit --

               He works his way around the table, patting Bosch and Madritsch
               on the back -- he knows them -- shaking Hujar's hand, who he
               doesn't know. He reaches Goeth.

                                     SCHINDLER
                         How you doing?

               Goeth takes a good long look at the handsomely dressed
               entrepreneur and allows him to shake his hand.

                                     GOETH
                         We started without you.

                                     SCHINDLER
                         Good.

               Schindler takes a seat, shakes a napkin onto his lap, nods
               to the servant holding out a bottle of champagne to him.

                                     SCHINDLER
                         Please.

               Goeth watches him. The others watch Goeth.

                                     SCHINDLER
                         I miss anything important?

                                     HUJAR
                         I was explaining to Mr. Bosch and
                         Mr. Madritsch some of the benefits
                         of moving their factories into
                         Plaszow.

                                     SCHINDLER
                         Oh, good, yeah.

               Schindler clearly doesn't care, but nods as though he did.

               He drinks. Goeth just watches him with what seems to be
               growing amusement. He nods to Hujar to continue.

                                     HUJAR
                         Since your labor is housed on-site,
                         it's available to you at all times.
                         You can work them all night if you
                         want. Your factory policies, whatever
                         they've been in the past, they'll
                         continue to be, they'll be respected --

               Schindler laughs out loud, cutting Hujar off. Hujar glances
               over to Goeth nonplussed.

                                     SCHINDLER
                         I'm sorry.

               He's not sorry at all, and starts in on the plate of food
               that's set down in front of him.

                                     GOETH
                         You know, they told me you were going
                         to be trouble -- Czurda and Scherner.

                                     SCHINDLER
                         You're kidding.

               Goeth slowly shakes his head no... then smiles.

                                     GOETH
                         He looks great, though, doesn't he?
                         I have to know -- where do you get a
                         suit like that? what is that, silk?
                              (Schindler nods)
                         It's great.

                                     SCHINDLER
                         I'd say I'd get you one but the guy
                         who made it, he's probably dead, I
                         don't know.

               He shrugs like, those are the breaks, too bad. Goeth just
               smiles. The others watch the two of them, unsure how they're
               supposed to react.

What i love is that when Goeth leans in, the natural thing to do would be to show a Close Up of Oscar, but we do not. This keeps Oscar distant; in power. Keep this in mind for the later scene in the office when Goeth lean into the frame.

INT. GOETH’S OFFICE - PLASZOW - LATER - DAY

               The others have gone. It's just Goeth and Schindler now.

               Goeth pours glasses of cognac.

                                     GOETH
                         Something wonderful's happened, do
                         you know what it is? Without planning
                         it, we've reached that happy point
                         in our careers where duty and
                         financial opportunity meet.

               Schindler nods pensively, perhaps in agreement, perhaps at
               some other thought. There's a silence, broken finally by --

                                     SCHINDLER
                         I go to work the other day, there's
                         nobody there. Nobody tells me about
                         this, I have to find out, I have to
                         go in, everybody's gone --

                                     GOETH
                         They're not gone, they're here.

                                     SCHINDLER
                         They're mine!

               His voice echoes into silence. An acquiescent shrug from
               Goeth finally. And a nod; Schindler's right.

                                     SCHINDLER
                         Every day that goes by, I'm losing
                         money. Every worker that is shot,
                         costs me money -- I have to get
                         somebody else, I have to train them --

                                     GOETH
                         We're going to be making so much
                         money, none of this is going to matter --

                                     SCHINDLER
                              (cutting him off)
                         It's bad business.

                                     GOETH
                              (shrugs)
                         Some of the boys went crazy, what're
                         you going to do? You're right, it's
                         bad business, but it's over with,
                         it's done.
                              (pause)
                         Occasionally, sure, okay, you got to
                         make an example. But that's good
                         business.

               Schindler pours himself another shot from the bottle, nurses
               it. He's in a foul mood. They study each other, trying to
               determine perhaps who's more powerful. Eventually --

                                     GOETH
                         Scherner told me something else about
                         you.

                                     SCHINDLER
                         Yeah, what's that?

                                     GOETH
                         That you know the meaning of the
                         word gratitude. That it's not some
                         vague thing with you like with some
                         guys.

                                     SCHINDLER
                         True.

               Goeth tries to put the situation in perspective:

                                     GOETH
                         You want to stay where you are. You
                         got things going on the side, things
                         are good, you don't want anybody
                         telling you what to do -- I can
                         understand all that.
                              (pause)
                         What you want is your own sub-camp.

               Schindler admits it by not disagreeing. Goeth thinks about
               it, nods to himself again, then frowns.

                                     GOETH
                         Do you have any idea what's involved?
                         The paperwork alone? Forget you got
                         to build it all, getting the fucking
                         permits, that's enough to drive you
                         crazy. Then the engineers show up.
                         They stand around and they argue
                         about drainage -- I'm telling you,
                         you'll want to shoot somebody, I've
                         been through it, I know.

                                     SCHINDLER
                         Well, you've been through it. You
                         know. You could make things easier
                         for me.

               Goeth mulls it over, his shrug saying "maybe, maybe not." A
               silence before --

                                     SCHINDLER
                         I'd be grateful.

               There's the word Goeth was waiting to hear.

I want you to think about a few things. From the start we get an opening shot from a one point perspective; one of the most basics of art design. When was the last time you went out and looked at a shot from ANY perspective ? Do yourself a favor and wiki perspective. Instead of shooting a random master shot, look at your subject with perspective in mind.

Look at the staging and blocking. No dramatic line manipulation, simple head and shoulder turns of the body to establish and create new vantage points. This opens up so many coverage areas while
controlling your audience.

Watch the film and count the seconds between cuts. Don’t be afraid to stay wide and allow your scene to play out. Change your compositions without cutting; use your camera and talent to move towards and away from the frame, but make sure you have balance and design in each bookend.

Pay particular attention to the line when the line “How could it be any worse?” is spoken. Imagine yourself standing in the THIRD PERSON, standing there, watching. The natural thing to do would be to look behind yourself at what he is looking at. Right ?

And finally, parallel editing. How can you tell your story by combining two different thematic elements in a series of cross-cuts to empower your story ? Think about it.

I hope you enjoyed this breakdown. I swear, E.T. is coming soon, but my undiagnosed ADD got the better of me.

The most expensive habit in the world is celluloid, not heroin, and I need a fix every few years.
– Steven Spielberg (Time, 1979)

57 years after Ripley’s encounter in the first film, Ripley is sent back to LV-426 as a consultant after the corporation loses contact with the colony of workers that are there.

I first got the idea and inspiration to break this down after I worked 1st AD for Producer Mark Johnson and Director Tim Hyten’s latest film “O2“, a science fiction thriller/drama that was filmed on the stages at Laurel Canyon Studios. We shot for two days on their spaceship stage; a very similar set design as seen in the Aliens film.

Director Tim Hyten (on right) and Gaffer Luis Sinibaldi. Image courtesy Kyle Stebbins 2008.

What really interests me is Cameron’s choices in coverage and pacing and I want to pay particular attention to a couple of areas during my breakdown:

1. Pacing - The ticking clock.

2. Coverage - The intentional misdirection used by Cameron to guide the audience visually.

3. Misdirection - Cameron’s deliberate misdirection.

First, let us read the script segment from the scene. Think how you would shoot it, how many cuts, set-ups, the staging and then scroll down for the shot by shot breakdown.

        INT. OPERATIONS - ANGLE ON HUDSON                       146

        looking decidedly stressed-out.  He grips his rifle
        tightly, AIMED RIGHT AT CAMERA.

                                  HUDSON
                          (intense)
                   I say we grease this rat-fuck
                   son of a bitch right now!

        THE GROUP is gathered around Burke who sits in a
        chair, maintaining an icy calm although beads of
        sweat betray intense concealed tension.  Only a few
        minutes have passes and everyone is still buzzed on
        adrenaline, as if the whole group is charged with
        high voltage.

                                  HICKS
                          (pacing)
                   I don't get it.  It doesn't
                   make any Goddamn sense.

        Ripley stands in front of Burke, every fiber of
        her being accusing him with absolute outrage.  Burke
        tries to break Ripley's stare, which is like a
        diamond drill.  He can't.

                                  RIPLEY
                   He wanted an alien, only he
                   couldn't get it back through
                   quarantine.  But if we were impregnated
                   ...whatever you call it...and then
                   frozen for the trip back at just
                   the right time...then nobody would
                   know about the embryos we were carrying.
                   We and Newt.

        Ripley glances at the little girl, a frail figure
        sitting nearby, hugging her knees and watching the
        proceedings with somber eyes.  She is all but lost in
        an adult jacket someone has found for her, and her still
        damp hair is plastered to her forehead and cheeks.

                                  HICKS
                   Wait a minute.  We'd know about it.

                                  RIPLEY
                   The only way it would work is if
                   he sabotaged certain freezers
                   on the trip back.  Then he could
                   jettison the bodies and make up
                   any story he liked.

                                  HUDSON
                   Fuuuck!  He's dead.
                          (to Burke)
                   You're dogmeat, pal.

                                  BURKE
                   This is total paranoid delusion.
                   It's pitiful.

                                  RIPLEY
                          (wearily)
                   You know, Burke, I don't know
                   which species is worse.  You don't
                   see them screwing each other over
                   for a fucking percentage.

                                  HICKS
                          (serious)
                   Let's waste him.
                          (to Burke)
                   No offense.

        Ripley shakes her head, the rage giving way to a
        sickened emptiness.

                                  RIPLEY
                   Just find someplace to lock him
                   up until it's time to --

        THE LIGHTS GO OUT.  Everyone stops in the sudden darkness,
        realizing instinctively it is a new escalation in the
        struggle.  Hicks looks at the board.  Everything is out.
        Doors.  Video screens.

                                  RIPLEY
                   They cut the power.

                                  HUDSON
                   What do you mean, they cut the
                   power?  How could they cut the
                   power, man?  They're animals.

        Ripley picks up her rifle and thumbs off the safety.

                                  RIPLEY
                   Newt!  Stay close.
                          (to the others)
                   Let's get some trackers going.
                   Come on, get moving.  Gorman, watch
                   Burke.

        Hudson and Vasquez pick up their scanners and move to
        the door.  Vasquez has to slide it open manually on its
        track.

        INT. CORRIDOR                                           147

        The two troopers separate and move rapidly to the
        barriers at opposite ends of the control block.

        DOLLYING WITH VASQUEZ as she moves forward with feral
        steps in the darkness.

        ON HUDSON  scanning the med lab and the nearby barrier.

                                  RIPLEY
                          (voice over)
                   Anything?

        BEEP.  Hudson's tracker lights up, a faint signal.

                                  HUDSON
                   There's something.

        He pans it around.  Back down the corridor.  It beep
        again, louder.

                                  HUDSON
                   It's inside the complex.

                                  VASQUEZ
                          (voice over)
                   You're just reading me.

                                  HUDSON
                   No.  No!  It ain't you.  They're
                   inside.  Inside the perimeter.
                   They're in here.

                                  RIPLEY
                   Hudson, stay cool.  Vasquez?

        ANGLE ON VASQUEZ  swinging her tracker and rifle together.
        She aims it behind her.  BEEP.

                                  VASQUEZ
                          (cool)
                   Hudson may be right.

        INT. OPERATIONS                                         148

        Ripley and Hicks share a look..."here we go."

                                  HICKS
                          (low)
                   It's game time.

                                  RIPLEY
                   Get back here, both of you.  Fall
                   back to Operations.

        INT. CORRIDOR                                           149

        Hudson backtracks nervously, peering all around.  He
        looks stretched to the limit.

                                  HUDSON
                   This signal's weird...must be
                   some interference or something.
                   There's movement all over the
                   place...

                                  RIPLEY
                          (voice over)
                   Just get back here!

        Hudson reaches the door to operations at a run, a
        moment before Vasquez.  They pull the door shut and
        lock it.

        INT. OPERATIONS                                         150

        Hudson joins Ripley and Hicks, who are laying out their
        armament.  Flamethrowers.  Grenades.  M-41A magazines.
        Hudson's tracker beeps.  Then again.  The tone continues
        through the SCENE, its rhythm increasing.

                                  HUDSON
                   Movement!  Signal's clean.

        He pans the scanner.  Stops.  The range display reads
        out, counting down.

                                  HUDSON
                   Range twenty meters.

                                  RIPLEY
                          (to Vasquez)
                   Seal the door.

        Vasquez picks up a hand-welder and moves to comply.

                                  HUDSON
                   Seventeen meters.

                                  HICKS
                   Let's get these things lit.

        He hands one flamethrower to Ripley and begins priming
        the other himself.  It lights with a muffled POP.
        Ripley's lights a moment later.  Sparks shower around
        Vasquez as she begins welding the door.  Hudson's tracker
        is beeping like mad now, as fast as their hearts.

                                  RIPLEY
                   They learned.  They cut the power
                   and avoided the guns.  They must
                   have found another way in, something
                   we missed.

                                  HICKS
                   We didn't miss anything.

                                  HUDSON
                   Fifteen meters.

                                  RIPLEY
                   I don't know, an acid hole in
                   a duct.  Something under the
                   floors, not on the plans.
                   I don't know!

        She picks up Vasquez' scanner and aims it the same
        direction as Hudson's.

                                  HUDSON
                   Twelve meters.  Man, this is a big
                   fucking signal.  Ten meters.

                                  RIPLEY
                   They're right on us.  Vasquez,
                   how you doing?

        Vasquez is heedlessly showering herself with molten metal
        as she welds the door shut.  Working like a demon.

                                  HUDSON
                   Nine meters.  Eight.

                                  RIPLEY
                   Can't be.  That's inside the room!

                                  HUDSON
                   It's readin' right.  Look!

        Ripley fiddles with her tracker, adjusting the tuning.

                                  HICKS
                   Well you're not reading it right!

                                  HUDSON
                   Six meters.  Five.  What the fu --

        He looks at Ripley.  It dawns on both of them at the same
        time.  She feels a cold premonitory dread as she angles
        her tracker upward to the ceiling, almost overhead.  The
        tone gets louder.

        Hicks climbs onto a file cabinet and raises a panel of
        acoustic drop-ceiling.  He shines his light inside.

        HICKS' P.O.V.                                           151

        A soul-wrenching nightmare image.  Moving in the beam of
        light are aliens.  Lots of aliens.  They are crawling
        like bats, upside down, clinging to the pipes and beams
        of the structural ceiling, not touching the flimsy
        acoustic panels.  They glisten hideously as they claw
        their way forward in silence.  They cover the ceiling
        of the operations room.  The inner sanctum is utterly
        violated.

1. Pacing - The ticking clock.

Cameron uses a classic film technique to build tension and suspense. With the countdown of the tracking sensors, the audience braces themselves for the last tick of the bomb.

2. Coverage - The intentional misdirection used by Cameron to guide the audience visually.

We never get a real glimpse of the ceiling, always in soft focus and just out of frame as Cameron shoots with the ceiling mostly out of view of the frame. When we do see the ceiling, it is in a very soft focus.

3. Misdirection - Cameron’s deliberate misdirection.

Cameron guides us into focusing on the doorway. Outside in the hallway, the sealing of the doors, the backing away from the door by all of the characters, and the shots of the door from their point of view. When we realize they are in the ceiling, it is more shocking than a sudden surprise as we feel betrayed somehow from our safety net.

I hope you enjoyed this breakdown of Aliens and the use of visual language to control your audience. Next time you set out to shoot your film, think of ways you can control and guide your audience visually and with pacing.

Come back soon for a study on Steven Spielberg’s E.T. - The Extra Terrestrial. You can see more scene study and breakdowns in my blogs VISUAL LANGUAGE section here.

“What are you gonna do, talk the alien to death?” - James Cameron

One Sheet

The film won five Academy Awards, including Best Picture and Best Director. This film is one of my all-time favorite films. I chose a segment from the film that we might find ourselves in. Read the script segment, think how you would shoot it, how many set ups, coverage. And then we’ll break it down.

Braveheart (1995)

by Randall Wallace.
Final draft.

INT. WESTMINSTER ABBEY - ROYAL WEDDINg - DAY

Amid the scarlet and ermine robes of officiating lords, with
gemstones sparkling everywhere, we hear...

Voice over

Twelve years later, Longshanks supervised the wedding of his
eldest son, also named Edward, who would succeed him to the
throne.

LONGSHANKS, King of England, stands in the jeweled light of the
ancient Abbey.  Known as Longshanks because of the spindly legs
that make him almost seven feet tall, he has a hawk’s nose and a
snake’s eyes, punctuating a face of distinct cruelty.  Historians
of his day considered him and the line of Plantagenets from which
he came to be devil worshipers.

Voice over

As bride for his son, Longshanks had chosen a relative of his
rival, the king of France.

GENEVIEVE, a nineteen-year-old virgin of stupendous beauty moves
down the aisle, the light in her face outshining her blindingly
white wedding gown.  As she reaches the altar her hands tremble,
but she maintains her poise and control.

She looks toward EDWARD, Prince of Wales.  Pampered young men
surround him as his retinue.  He takes her hand coldly and goes
through the ceremony under his father’s stare.

VOICE OVER

It was widely whispered that for the Princess to conceive,
Longshanks would have to do the honors himself.  That may have
been what he had in mind all along.

The ceremony concluding, attendants lift back the bride’s veil.
Her wedding day, the ultimate moment--and Prince Edward ignores
her, to turn back to his friends.  But prompted by one of the
sour lords, he leans over and pecks his new Princess on the
cheek.  For an instant, we see in her eyes that her heart is
dying.  But she keeps her poise.

END

Shot by shot

Film is a visual medium. The voice over narration in this scene is completely unnecessary as the shots and talent tell us the entire picture without a spoken word. A wedding, a king, a young prince not wanting to be there, his lover, the king realizing the dudes relationship, the young queen to be dissapointed, sad yet full of poise and pride.

Next time you set out to shoot, look at your script in visual terms first, then worry about the dialogue !

UPDATE

I kind of threw this one together last night and STYLZ, a member over at my other home www.dvxuser.com got me thinking about a better way to explain this.

I’ve made another example, and wanted to keep in mind a certain point. Having a clear understanding the rules of visual storytelling in film is the ONLY was to break them Read some more and let us hear your thoughts.

Indy One Sheet

I remember the trailers on television “Indiana Jones, the new hero from the creators of JAWS and STAR WARS!”. The film blew my mind. Nominated for 9 Academy Awards including Best Picture and Best Director, Spielberg would be robbed by the Academy.

This scene study is simple, yet very effective. Read a passage from the script and decide how you would block this one out. How many cuts ? What kind of coverage ? Then we’ll take a look at the scene, shot by shot.

The occupant of the smoke-shrouded corner table becomes
visible only as Indy reaches there: it is Emile Belloq.
He is drinking wine.

INDY
Belloq.

BELLOQ
Good evening, Dr. Jones.

INDY
I ought to kill you right now.

BELLOQ
It was not I who brought the girl
into this dirty business.

Indy knows it’s true; that’s what’s tearing him up.

BELLOQ
Sit down, please, before you fall
down. We can behave as civilized
people. I’m afraid it will be your
last opportunity.

Indy sits, glancing at the German Henchmen, who settle
nearby, just out of earshot.

INDY
Not a very private place for a murder.

BELLOQ
(looking around)
These Arabs will not interfere in
the white man’s business. They do
not care if we kill each other off.
(takes a sip of wine, refers to it)
Terribly difficult finding a decent
vintage here. You were quite vig-
orous in Shanghai. Unfortunately,
our friend the Wild Boar had taken
the precaution of making several
copies of the piece.

Indy registers this as he takes a drink. Belloq watches
him with disdainful amusement.

BELLOQ
How odd that it should end this way
for us, after so many…stimulating
encounters. I almost regret it.
Where shall I find a new adversary
so close to my own level?

INDY
Try the local sewer.

BELLOQ
I know you despise me. We always
hate in others that which we most
fear in ourselves. And you and I
are very much alike.

INDY
Now you’re getting nasty.

BELLOQ
We have always done the same kind of
work. Our methods have not differed
as much as you pretend. I am a sha-
dowy reflection of you. But it would
have taken only a nudge to make you
the same as me, to push you out of
the light.

There’s a certain amount of truth to this; the recognition
of it flickers across Indy’s bleary eyes. Belloq sees
it there.

BELLOQ
You know it to be true! How nice.
And how ironic the timing.

Belloq leans forward, eyes shining, voice suddenly different.

BELLOQ
Do you realize what the Ark is?
(very intense)
It’s a transmitter. A radio for
talking to God! And now it is
within my grasp.

INDY
What about your boss, Der Fuhrer?
I thought he was waiting to take
possession.

Belloq glances into the gloom at the German Henchmen.

BELLOQ
(quieter)
When the time is right. When I am
finished with it.

INDY
I hope your friends are patient.
Dangerous work, Belloq.

BELLOQ
Yes. Very. You may consider your-
self fortunate that your involve-
ment concludes here.

INDY
Tell me, did you get away with
the idol?

BELLOQ
(negative)
I was lucky to get away with my
life. The Hovitos proved quite
narrow-minded about the whole matter.

Indy takes a drink.

INDY
You know, if it’s God you want to
talk to, maybe I can arrange it.

BELLOQ
(smiles)
You have not changed. But, please,
do not reach for your weapon until
you are ready to die.

The front door of the bar slams open and all nine of
SALLAH’S CHILDREN scamper in and over to a surprised
Indy. Two of the smallest hop into his lap.

LITTLE SON
Uncle Indy, we have been looking
for you.

LITTLE DAUGHTER
Come home now, Uncle. Hurry!

Suddenly the Arab patrons of the bar take an intense in-
terest in the situation, shifting their weapons.

INDY
Yes. Yes, I’ll come now.

Indy stands up. The German Henchmen are poised. Belloq
eyes the Arab patrons and signals for the Henchmen to relax.

BELLOQ
Next time, Indiana Jones, it will take
more than children to save you.

The children usher Indy out.

====================================================

Now lets break it down.

Next time you’re out shooting, pay attention to different ways in which you can move the line and visually excite your audience. Two people talking can be much more exciting than back and forth reverses all day long. Think of the dialogue and how it can serve and motivate your shot selection.

“I hate that people think it’s wrong to say you’re inspired by Jaws or by Raiders Of The Lost Ark. You’re allowed to be.” - Steven Spielberg

When I first thought of breaking down the shootout from Tombstone, it sounded like a good idea at the time. Little did I stop to realize that it would come in at over 125 different cuts. I can’t even bother to count the Set-ups on this break down. My mind is already mush. But there doesn’t appear too many set-ups as it is, but more one cut after another from a handful of them.

There isn’t anything to run home and scream about in terms of cinematic brilliance with this film. Rudiment direction, cinematography and score, it is the ensemble cast that makes this film such a treat, most notably Val Kilmer’s portrayal of Doc Holiday. Make no mistake, it is one of my favorite films for sheer entertainment value. But I did notice some some things worth discussing whilst breaking this apart, mainly regarding the Axis Line. This can be a major hurdle (and obstacle) for any new filmmaker. Many do not even know about it and many more just can’t seem to grasp it. It can become a complicated mess on-set especially with an action sequence.

Cameron once complained on the T2 commentary that many filmmakers shoot action scenes with no sense of the axis line; just gathering coverage from all the angles and then putting it together in post. Often, the audience is left putting it all together in their head, even if on a sub-concious level.

Per Wiki

The 180° rule is a basic film editing guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line.

Staging and blocking are paramount and unless a genius, boarding in advance and compiling a shot diagram before hand will help you to avoid these issues.

Another note to look for is the 30 degree rule during this breakdown. I don’t often see this rule violated but noticed more than once during this sequence.

Per Wiki

The 30° rule is a basic film editing guideline that states the camera should move at least 30° between shots of the same subject. This change of perspective makes the shots different enough to avoid a jump cut.

The images take a while to load, so be patient. First let’s look at the script segment. I could only find the 4th draft version, but it’s similiar enough to get the jist. Read it, imagine it and then review the film, shot for shot.

TOMBSTONE

An original screenplay
By
Kevin Jarre

                                           Fourth draft

                                           March 15, 1993

The Earps and Doc turn off 4th onto Fremont St. Creek Johnson
and Texas Jack Vermillion watch as they pass the grocer's.

                     JOHNSON
          There they go.  Look kinda like preachers.

                     VERMILLION
          Yeah.  Or undertakers.

The vacant lot starts to come into view and the Earps are
fighting nerves now.  Fists clenched, gritting their teeth,
eyes darting all over the street, they look all too human and
nothing like their legend.  It's only Doc, bringing up the
rear, who couldn't care less.  Wyatt narrows his eyes:

                     WYATT
          Virge, you're makin' the arrest.
          You make contact, I'll back you
          Up.  Morgan'll back me up, Doc'll
          Keep an eye out for trouble.  And
          Keep your hands on your guns.
          They even look like they're gonna
          Start something, buffalo 'em.
          Right over the head.

                     VIRGIL
          Wyatt, I know what I'm doin'.

                     WYATT
               (sees onlookers)
          Look at 'em all.  They love it.
          How in the hell'd we get
          Ourselves into this?

Just then Behan walks up holding up his hands, reassuring:

                     BEHAN
          You don't have to worry about a
          Thing.  I just went down there and
          Disarmed them.

                     VIRGIL
          You did?  Great, thanks.  Come on, boys.

The Earps quicken their step as Behan enters Fly's gallery.
Seeing the approaching Earp party, the Cowboys glance around
at each other, setting themselves.  Now at the end of the
sidealk, the Earps can see that the Cowboys are still armed
and their relief evaporates.  Wyatt mutters under his breath:

                     WYATT
          Oh, great.  Disarmed my ass...

The Earps slow their step, gathering themselves.  This is it,
no turning back now.  The Cowboys spread out.  As the Earps
get closer and closer, it seems as if the very air is electric
with tension.  But as they step into the street and fan out
for their final approach, they suddenly do look like their
legend, 4 tall figures in long black coats advancing in a
line, grim and unstoppable, a fleeting moment in time frozen
forever in our minds.  Finally they stop.  The 2 groups are
facing each other, perhaps 20 feet apart.  Doc raises the
shotgun, the Cheshire cat smile spreading over his face.
Virgil steps forward, his face set, holding up Doc's cane:

                     VIRGIL
          We've come to arrest you.  Throw
          Up your arms!

A weird moment of confusion where nobody seems to know what to
do.  Then Billy Clanton and Frank McLaury SLAP their hands to
their guns.  The Earps instantly tense up, hands on their
pistols.  Virgil waves his hands frantically, afraid they've
misunderstood:

                     VIRGIL
          Hold!  I don't want that!

Suddenly realizing what's happening, Fuller and Claiborne bolt
and dash into Fly's gallery.  Everyone else stands frozen,
breath short, pulses pounding, each staring into the other's
wide-open eyes.  Then something in Billy Clanton's eyes seems
to go dead and Wyatt groans under his breath as the awful
realization hits him:

                     WYATT
          Oh, my God...

Billy and Frank jerk their pistols and the scene EXPLODES,
everything happening in SPLIT SECONDS as Wyatt draws and
FIRES, knocking Frank down with a gutshot.  Morgan FIRES,
blowing Billy back against the wall of the Harwood house.  Tom
darts for the cover behind his horse as Ike dives onto Wyatt
shrieking like a woman:

                     IKE
          No, no, please!  I don't have a gun!

                     WYATT
          This fight's commenced.  Get to
          Fightin' or get away!

Wyatt hurls him aside.  Ike sprints for the gallery.  Tom
FIRES over his saddle at Doc who tries for a shot but is
blocked by the horse.  Billly bounces back up, howling, and
FIRES, the bullet piercing Virgil's calf.  He drops to one
knee.  Tom FIRES again.  Doc FIRES one barrel into the air,
the BLAST making the horse rear up, exposing Tom for a split
second.  Doc FIRES again.  Tom's side EXPLODES into red mist,
the full charge of red mist, the full charge of buckshot
SLAMMING him into the Harwood house.  Tom drops his gun and
teeters into the street, talking eerie little mincing steps,
already dead but still moving, like a chicken with its head
cut off.  Billy FIRES again, dropping Morgan with a hole in
his shoulder.

                     MORGAN
          I'm hit.

Doc pull his Lightning and FIRES DOUBLE ACTION 1-2-3 times,
hitting Billy in the abdomen while Frank bounds back into the
fight, FIRING wildly.  Virgil gets up, FIRING BACK.  The whole
scene now bathed in thick smoke, the fight starts swirling
into the street, each man jockeying for position.  Inside the
gallery, Behan and Fuller watch at the window as Ike dives in.
He snatches Fuller's pistol and FIRES through the window.
Ike's bullets WHIZ past Wyatt's ear.  He spins around, calling
to Doc:

                     WYATT
          Behind us!

In a flashing move taking less than a heartbeat, Doc pivots,
replacing the .38 in this right hand with his big .45, then
with one pass of his left hand RAPID FIRES quick as a machine
gun burst 1-2-3-4-5 times, the bullets RIPPING through the
gallery, showering Ike and the rest with splinters and broken
glass.

                     BEHAN
          Come on!

Behan hauls Ike up and they dash out the back door, Fuller and
Claiborne right behind, all frantically running for their
lives.  Outside Billy gets to his knees, seemingly
indestructible, and FIRES at Wyatt,  Wyatt RETURNS FIRE.  Eyes
wild and bulging, a bloody hand clutching his wounds, Frank
staggers across the lot, bearing down on Doc through the
smoke:

                     FRANK
          I got you now, you son of a bitch!

                     DOC
          You're a daisy if you do!

Doc opens his arms, giving Frank a clear shot at his chest.
Frank FIRES.  The bullet grazes Doc's holster.  Frank trudges
closer, about to fire again but Doc DRILLS him through the
heart while in the next millisecond Morgan FIRES from his
prone position on the ground, the big .45 BLAST carrying away
the top of Frank's head.  As the last shot echoes through the
hills, Frank flops limply to the ground like a rag doll while
out in the street his brother Tom finally runs out of steam
and pitches face first in the dirt, leaving only Billy,
leaning against the Harwood house, legs splayed out in front
of him, absolutely shot to pieces, clicking his empty gun and
wailing piteously as the smoke clears:

                     BILLY
          More cartridges!  Somebody load my gun...

He keeps repeating it with sinking volume as townspeople step
timidly into the street.  Fly bends down and takes Bill's gun
from his hand and the fight is officially over, having lasted
only some 20 seconds.

And now, the massive imagery that had me spinning while I broke it down and pieced it together. If I have left some frames uncommented on, they are basic and probably not pertinent to make one. i.e. Close Ups to increase the tension, et al.

I hope you enjoyed this analysis and breakdown of TOMBSTONE and the examining of its axis and pacing and the various other elements to communicate in film using Visual Language. Next time you set out to make a film, keep these ideas in mind. In order to break rules and create your own techniques you have to understand them from the beginning or you’ll be a a daisy.

Hitchcock said “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.” And that, my friends is visual language.

“I know it was you Fredo.”

Those famous lines from the Acamemy Award winning The Godfather: Part II gave us a powerful moment in the film when Michael lets Fredo, his brother, know that he’s done, with a kiss of death. But an even more powerful scene is the reveal that Fredo betrayed Michael and the family. This is the scene that sets a huge story plot into motion that finally culminates with a fishing trip. If you haven’t seen this film, run and get it now.

I want to look at a few elements in this great scene from the film.

1. Using your talent in subtle ways; using the eyes to communicate without so much head wobble.

2. Metaphors and action in a scene that can symbolize the bigger picture.

3. Minilmism. Less really is more.

4. Color signs.

5. Blocking and placement of key characters.

6. Contrast.

I’ll address these thoughts at the end of the article. Let’s get started by becoming more familiar with the source material based on the novel by Mario Puzo and adapted for the screen by by Mario Puzo and Francis Ford Coppola.

INT. 'SUPERMAN SHOW' - MED. VIEW - NIGHT

A large room with a succession of platforms arranged step-
like around a circular area which becomes a stage.

There are a hundred or so people, practically all men,
tourists and business men, standing on the different levels,
forming the audience.

In the center of the stage is a thick, telephone type pole,
to which is tied a young Cuban girl, in a flimsy white
sacrificial slip.  A small band, mostly drummers, play some
Latin music.

MED. VIEW

Fredo's party standing on the ramp, looking down at the
spectacle.  They're a little woozy from the drinks and late
hour.  Michael is with them, but now we sense he is using
this time, with all exhausted and drunk, to come to some
important conclusions.

				QUESTADT
		Why do we have to stand?

				FREDO
		Everyone stands.  But it's worth
		it, watch!

VIEW ON THE ARENA

Now two high priestesses, scantily clad, bring in a tall and
muscular Cuban, done up in chains and loin cloth, as though
he were a captured slave.  This is SUPERMAN

VIEW ACROSS THE MEN TO THE STAGE

				FREDO
		That's him; that's Superman!

Some preliminary pornographic proceedings go on, as the
priestesses lead the slave to the virgin tied to the post.
The music is percussive and wild.

MED. VIEW ON THE MEN

				SENATOR GEARY
		Ohmygod.  I don't believe it.

				QUESTADT
		It's got to be fake.

				FREDO
		That's why they call him Superman.
		Johnny Ola told me about this; I
		didn't believe it.

CLOSE on Michael turning away.  Not because of the spectacle
which he finds disgusting, but at what his brother is saying.

				FREDO (O.S.)
		... but seeing is believing.  Ole
		Johnny knows all the places.  I
		tol' you... can you believe it?

If Michael would ever allow himself to cry, it would be now.

				FREDO
			(continuing)
		The old man Roth, would never come;
		but Johnny knows these places like
		the back of his hand...

							FADE OUT.

Now that you’ve read the script segment, take a moment to imagine how you would shoot this scene. How would you block it ? How many setups ?

What I take and what you take from the scene can be a completely different perception and meaning, but these are my thoughts.

1. Using your talent in subtle ways; using the eyes to communicate without so much head wobble.

The performances from Al Pacino and John Cazale are wonderful. Not over the top or scene stealing, but subdued. Pacino gives us an insane range of emotions thoughout. Subtle. His eyes communicate everything from his emotions to dictating where the camera will be placed next.

It is this subtelty that gives such power to the scene. Michael realizing the betrayal is the peak of the scenes emotional scale and it is all played out from the start, at the bottom of this scale. It builds slowly, like a snaily chreshendo.

Tone down the talent; relax them. Let their eyes communicate.

2. Metaphors and action in a scene that can symbolize the bigger picture.

The Superman stage show starts with some nice looking ladies bringing out the virgin and tying her to the stakes. This performance, that our party has gathered to watch strikes me as a metaphor of their own reality. Michael is the virgin, and as he realizes the truth, so does the girl as Superman drops his cape revealing an off-screen organ from hell and like Michael, she just got punkd.

3. Minilmism.

Less really is more. 6 Set ups. I can’t even imagine a film today using only 6 setups for a scene in club, with sexy girls, party people, a stage show and a revealing moment such as this one; betrayal. 6 Set ups. 17 Cuts. In visual storytelling, show only what you must and save the fluff coverage for your music videos.

4. Color signs.

The presence of orange in the Godfather films have long been debated. Fredo’s escort girl wears an orange dress but it is not until the final shot where we get our most focused and prominent view of her. She stays hidden behind the crowd and then slowly inches her way into the frame as Michael reaches realization.

5. Blocking and placement of key characters.

I’ve addressed this just above, but keep in mind, when shooting a scene, we have got to see your talent. Place them according to the frame where they can all be scene, unless of course sneaking in a woman wearing orange as a sign.

6. Contrast.

Another visual note I did not address in the image example is the classic move to a close up. The scene starts with nice wider shots, relaxing the frame and then starts into the closer shots as Michael realizes what is happening. The closer we get, the more intimate we get, the more focused, the more important. Keep that in mind all of you close up shooting frame muddlers.

I hope you enjoyed this analysis and breakdown of THE GODFATHER PART II and the use of various elements to communicate in film using Visual Language. Next time you set out to make a film, keep these ideas in mind. In order to break rules and create your own techniques you have to understand them from the beginning. Otherwise you’ll end up with the fishes,

A couple of quotes from our masters.

Hitchcock said “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.” And that, my friends is visual language.

“A number of images put together a certain way become something quite above and beyond what any of them are individually.” - Francis Ford Coppola

How long does it take for a man to die in the desert ?

This will be the first article in a series that examines (and hopefully inspires and educates) the visual language of film. Brian De Palma, the visually obsessed master once said “… I try to develop pure visual storytelling. Because to me, it’s one of the most exciting aspects of making movies and almost a lost art at this point.”

Visual Language. It’s a basic core of education for a director, but a complcated one…

The POV shot is a shot that shows what a character is looking at represented through the camera. It is usually established by being positioned between a shot of a character looking at something, and a shot showing the character’s reaction. It serves not only as a visual aid, but to immerse your audience into the characters perspective and ultimately the story.

It had been a while since I’ve seen this technique used to perfection. The recent Academy Award winning NO COUNTRY FOR OLD MEN is a prime example of this technique. The Coen’s minimalist style is perfection with each frame looking like a work of art.

Let’s get started.

First let’s take a look at the script segment from the scene we are going to breakdown. This is a 2005 draft adapated by the Coen’s themselves. One thing I found interesting is the use of the word Point-of-view 23 times in the screenplay. These two wrote the script, knowing in vision. This segment of the script however, does not use the word Point-of-view one time.

Read the segment, ask yourself how you would shoot and cover this even going so far to storyboard sketch it. Compare it to the brother’s work.

I hope you enjoyed this analysis and breakdown of NO COUNTRY FOR OLD MEN and the use of the POV in film. NO COUNTRY makes extensive use of this technique throughout the picture and I suggest going back and rewatching the film, looking for the technique. Next time you set out to make a film, try this technique, learn from it, see why it works and when it does not. In order to break rules and create your own techniques you have to understand them from the beginning. Otherwise you’ll get shaky spaz cam with zero direction or understanding in visual terms.

Hitchcock said “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.” And that, my friends is visual language.