Scene Analysis Shot List

Mitchell Davenport

1AB

Scene Analysis Shot List

Movie: Casino Royale

Description of Scene

Pre-scene: Daytime, outside of dirty, rundown old buildings, near the outskirts of a shanty town. A

construction yard is in the distance. A large crowd is surrounding an open courtyard. Close up of

mongoose attacking cobra and fighting it. Close up of one man in crowd.

Running Time: 2:23

Shot 1: Close up on bomber’s face, pulls cell phone out of his pocket.

Shot 2: Close up of cell phone screen, shows a text message with the word “Ellipsis” on it.

Shot 3: Reaction shot close up of his face, pulls back to show him putting it away in his pocket.

Shot 4: Close up of miscellaneous agent’s face places finger in ear to talk to Bond. The two talk as the

camera pans from a low angle shot of James to the high angle shot of the agent.

Shot 5: The camera shoots the bomber seeing the agent putting the finger to his ear. Reaction shot of

agent’s face. Reaction shot of bomb maker as he turns to run.

Shot 6:Men push through a crowd, high angle shot of Bond watching, the bomber jumps off e ledge,

close up of snake biting at his ankle.

Shot 7: Agent runs forward, hits ground.

Shot 8: Dolly shot of bomber running through the crowd. High angle shot of him tilts to low angle shot

of James as he turns.

Shot 9: Camera is directly overhead as both men run towards each other. The two run past old cars

and over fences.

Shot 10: Enter jungle foliage, dolly shots of both men as they run through the jungle.

Shot 11: First person dolly shot through shrubs as fence appears, camera tilts down. Shot of bomber

and James both hopping over the fence, respectively..

Shot 12: Bomber runs behind some crates, close up of his face as he looks for Bond. Camera pans

from his view.

Shot 13: Reaction shot of his face after bulldozer bursts through a fence in the site. Reaction shot as

man shoots at Bond, who calmly drives his bulldozer.

Shot 14: Camera shifts from bulldozer to man running.

Shot 15: High angle shot as debris flies off after bomber. Low angle shot of him jumping up and

climbing a construction beam.

Shot 16: Low angle shots of Bond hopping out of crane, high angle shot of him running up crane as th

police assemble below to pursue them.

Shot 17: High angle shot as he approaches to, . Bomber kicks worker off beam as Bond leaps onto a

ledge.

Shot 18: Worker falls, high angle shot of his propane tank and him falling. Tank hits the ground.

Shot 19: Multi-angle slow motion explosion.

Royale Pursuit

Mitchell Davenport Wecker IB Junior English Scene Analysis Essay Royale Pursuit James Bond is the ideal man of mystery. Smooth, deadly, intelligent, and always knows how to handle any situation. In Casino Royale, James Bond must chase down a bomb maker in Africa in order to stop a terrorist attack. So by using the contrasting high and low angle shots, along with the dolly, he emphasizes the importance of the current mission by making the chase difficult for Bond, yet he cannot let him get away. The fast moving dolly shots do this, while the angle each character is shot from conveys a certain level on the hierarchy in who is more lethal. This creates a tone of confidence in James Bond, who we can trust to get the target. Throughout the chase, dollies are used to follow the two actors and to provide a fluid, smooth movement through the scene. In shot 8 the bomber runs through a crowd with the camera following him, and then the camera tilts to James Bond turning to chase him in a later scene. As the camera follows the bomber, we see how chaotic the crowd is, and how desperately he is trying to escape when he shoves people out of the way and the camera shakes back and forth. The shakiness of the camera is also important, as the director chose to specifically use it instead of holding it still. The viewer feels like he is running behind, trying to keep up with the fugitive just like Bond is. In shot 9, the two men are hopping over fences through the slums of a local African neighborhood. The dolly goes around cars and trash bins as the men free-run across the shot. With this we are able to see physical differences in the way they run and overcome obstacles. The bomb maker uses maneuvers that require a lot of dexterity and agility, whereas Bond takes the most direct, blunt route. Both have the same goal but take vastly different means of achieving it. The simplicity in Bond’s route visually conveys two things to the viewer. He is determined, and since he does not use the entire environment around him he is single-minded. This adds to the feeling of urgency, Bond running without any precautions to pursue his target, as the reason the bomb maker must be stopped is vital to his mission. The viewer does not yet know what the bomb maker’s role in the plot is, so the director needs to convey his part in the story with the tone and the visual cues. After the men leave the outskirts of the city they enter a dense jungle area. In shot 11, the dolly is in a first person perspective of the bomber as he runs through trees and bushes. As he encounters a chain link fence just past the jungle, the camera tilts down in context with how close the fence is. The viewer feels like they are on a collision course with it, until the last moment when the camera switches to another angle of the bomber hopping over it. James Bond is a confident and powerful character, and the director expresses his superiority over the other two characters through the use of low angle shots. When the bomber is being chased by the agent in shot 6 the camera tilts down over Bond’s shoulder as he looks down at them. The nuance of superiority is seen here, since he is looking down on them. The cool shade gives him a look of calm intensity, as the bomber and the agent have to stand in the hot sun. As the two are panicking and running through the crowd, he stands still, leaning against the wall. These elements all combine to show how even though the situation may seem out of hand, James Bond is still in control and the viewer gets a tone that he will be able to accomplish the mission, despite the agent’s blunder. During shot 8 as the bomber pushes his way out of the crowd, the camera looks up to Bond as he turns to chase the man. In this scene the camera not only shoots a low angle shot on Bond, but the bomber begins in the shot in a high angle shot before it tilts up to James. There is a hierarchy as the two converge later from above and below. This adds to the idea that Bond will be able to accomplish the mission and that he is very capable as an agent. Shot 13 is when James bursts onto the screen in a bulldozer, and is shot at by the fugitive. After that the camera shoots a low angle shot of the bulldozer crashing through a fence. In the bulldozer Bond sits higher than the bomb maker, so the shot of him are higher up. Also, when the camera shoots the low angle of the fence, it makes the bulldozer and its appendage seem more imposing. It adds to Bond’s power and makes him seem much more frightening than the bomb maker. The bomb maker has been scared the entire time, while James is cool and collected, just like when he was standing in the shade. The director wanted the viewer to gain a sense of Bond’s character early on in the movie without needing to verbally explain it. Through the use of dollies and conflicting high and low angle shots; the director gives the scene a fast paced adrenaline rush, emphasizing the importance of the mission, while the angles create an unspoken superiority of Bond over the other characters in the scene. This draws the audience in, as they can rally for James, a character they can admire in his confidence and bravery. P.S.: Yesterday was my birthday. P.S.S.: Due to copyright infringing rules that apparently rule youtube.com, I was unable to procure a usable clip of my particular chase scene.

Macbeth 5.1 Screenplay (with abbr.'d dialogue)

INT. CASTLE- NIGHT

DOCTOR and GENTLEWOMAN are walking down a hallway with candles lining the wall. their pace is slow, and their heads are bowed in deep thought as they dicuss something outside the camera's range. They draw closer and what they say is heard. Both continue walking around a bend in the corridor.

DOCTOR (doubtful): I have two nights...

GENTLEWOMAN (earnestly): Since his majesty...

D (rubbing his eyes): A great perturbation...

G (looking nervously around) That, sir, which...

D: You may to...

G: Neither to you...

Enter LADY MACBETH abruptly in front of the two, lost paying neither of them attention. She is murmuring and holding a taper in her hand. She gets onto her knees and begins rubbing at a spot on the floor and at her hands furiously.

D (retreating with gentlewoman behind a pillar): How came she...

G: Why, it stood...

D: You see, her eyes...

G: Ay, but their...

D (curious): What is it that she does now...

G:It is an accustomed...

LADY MACBETH (hushed voice, hurriedly): Yet here's a spot.

D (shocked): Hark! She speaks...

DOCTOR pulls out a quill and parchment from his waist, jotting furiously her words verbatim.

L: Out, damned spot!...

D (turning to gentlewoman): Do you mark that?

L (scrubbing hands and looking up to unknown person): The Thane of Fife...

D (startled): Go to, go to!...

G: She has spoke...

L: Here's the smell of blood...

D (empathetic): What a sigh is there!...

G: I would not...

D: Well, well, well-

G (clasping hands in prayer): Pray God it be, sir.

D (tired and defeated): This disease is beyond...

L (standing up) :Wash your hands...

D: Even so?

L (stepping out of the hall): To bed! To bed!...

LADY MACBETH leaves, others turn to return to their quarters.

D: Will she go now to bed?

G: Directly

D (suspicious, pacing in front of his door): Foul whisp'rings are abroad...

G: Good Night, good doctor.

Exeunt GENTLEWOMAN

Mitchell Dean Davenport
Scene Analysis Proposal

Movie: James Bond: Casino Royale

Scene: Africa Chase Scene (Just after credits)

Scene Running Time: 2:23

Description of Scene: Scene begins with the suspected bomb maker standing in a large, cheering crowd, when he reaches into his front coat pocket to retrieve his cell phone. Close up on the phone reveals a text message with the single word "Ellipsis". A close up shot of the man's face reveals scars all over his face. Camera pulls back as he puts the phone away. We now see an agent identifying the suspect by the scars as he moves out of the crowd. He holds a finger to his ear to listen to James Bond, which the camera pans to in an adjacent building with and open front. This is the only part of the scene with shade and dimmed lighting, giving him a cool calm perspective that opposes the heat and chaos of the rest of the scene.The bomber sees the agent holding the earpiece with his hand and begins running. The bomber jumps down, camera shifts down to the snake which almost bites him. The agent pursues him through the crowd but falls, firing his gun and dispersing the crowd. James Bond chases him away from the city, through a thick jungle area. Camera is in first person perspective on a track through the foliage until it comes upon a chain link fence. Camera backs out as the fugitive jumps over the fence and runs through a construction yard. James Bond pursues with a bulldozer, camera pulls a close up on his face as bullets hit the windshield. Bomber hops up to the second story, camera pulls a wide angle shot as debris flies off the bulldozer at the man. Camera pans, then tilts as the man jumps up the next beam of a a building in construction. Low angle shot of James jumping out onto a crane. Close up of his face as he runs up the turning crane. Close up of a construction worker swinging a blowtorch. Bomber kicks him off the beam, as the camera switches to James jumping onto the fencing of the upper level of the building.High angle shot of the man falling, hitting the ground, then his fuel tank for the torch hitting shortly after. Slow motion explosion from multiple angles.

IB Criteria as Compared to the Proposed Topic to Base a commentary of Greek Tragedy Upon

A. Selection of Aspect and it's Treatment
I believe my topic is worthy of a 4 in this area, because it is independent in thought, and can be applied to almost any of the tragedies. It is appropriate to the assignment and has a specific focus to be based upon. Pride can be found in the plays and it's connection to pride is in integral to Greek tragedies, which bring a hero up only to have them fall even further.

B.Knowledge and Understanding of work
This warrants a 3. while currently it is appropriate, it does not demonstrate a profound knowledge of the text and needs to exercise a deeper involvement in what is hidden in the text. Some links are made but more original ones are required.

C.Presentation
4. although the outline has not been completed, it has a well thought out structure of alternating the topic with the works to show how it relates to each of the works, and to each other. There is no word limit to consider, but a statement of intent has been created to form the outline around.

D. Language
Not applicable until rough draft is formed.

The French Comparison

In Jean's Antigone there is the theme of happiness being a meaningless point to life, and that it's true purpose is self-fufillment. This existential view on life, commonly adopted during the 1940's after the World Wars. Unable to understand how so many people could lose their lives over something as futile as political borders and a lust for power, people found this view popular. It shows similarities to the theme in Oedipus the King of a lust for power causing tragedy. The two themes show how those who seek power and happiness, materialistic and abstract things, are the victims of the tragedy.

French Ambiguity

In the story Jean uses the word the word "understand" often in the argument between Creon and Antigone. Antigone wants Creon to understand that he is accountable for eveything that has happened, that it was not a matter of him seizing power when it needed to be done. It was not noble, but rather him doing what benefitted him. And Creon wants her to see that her brothers were both traitors and both wanted to overthrow the king, so really they both deserved their fate.

Words like happiness are ambiguous. Creon wants Antigone to just be subservient and so everyone will be happy. Antigone realizes that happiness is the fufilling feeling one feels when life is going well, and what Creon describes is appeasement and contentment. She's motivated to achieve the goals she set out to, and Creon is motivated to keep her alive so she may marry his son, but teach her not to be rebellious.