Road to Perdition FILM! ?!
Question: Road to Perdition FILM! !?
im doin a film analysis for school!.!.!. need some help on film techniques for key scenes!!
It would be greatly appreciated if someone could help me out on the description of camera techniques for the scene where SULLIVAN GETS MURDERED BY MAGUIRE!
tHank you so much!! anything will help! xoxoxoxoxooxoxoxo
ill answers your questions to!!!!! and by answer i mean properly so do the same please
XOXOXOWww@Enter-QA@Com
It would be greatly appreciated if someone could help me out on the description of camera techniques for the scene where SULLIVAN GETS MURDERED BY MAGUIRE!
tHank you so much!! anything will help! xoxoxoxoxooxoxoxo
ill answers your questions to!!!!! and by answer i mean properly so do the same please
XOXOXOWww@Enter-QA@Com
Answers:
Shot by the late great master cinematographer Conrad L!. Hall, this is arguably one of the greatest scenes ever caught on celluloid!.
Where to begin!?!.!. The goal of any cinematographer is to make us (the audience) feel whatever he or SHE wants us to without the aid of acting (body language, monologue/dialogue, or action)!. Simply put, they must capture us!. And a cinematographer must accomplish this with a mastery of set ambiance, lighting, lenses, and most importantly placement and movement of the camera!.
Conrad makes this task seem effortless!.
1!. I believe that Conrad wanted to set up one of the most horrific scenes in the movie, with the juxtaposition of one of the most beautiful settings!.
2!. He really goes out of his way to show us just how beautiful and serene this beach is!. He does this with the usage of cranes and wide-angle lenses!. Not to mention the sweeping panoramic shot from camera left that establishes the poetry of the almost too blue ocean lapping the shoreline of the tranquil white beach, along with our first glimpse of their clandestine hide away house neatly nestled amongst the flourishing greenery!. Up until the murders, if you were to pause the movie, the still frame would be every bit as picturesque as a Norman Rockwell portrait complete with an overly friendly barking dog!. The beach is calm and empty, the waves are not crashing, and the house stands alone peacefully!. The interior of the home is painted in a very calming eggshell white!.
3!. On Sullivan’s walk into the house, Conrad switches to steady cam, which always quickens the pace a bit!. This is amplified by the way that he has Sullivan walk into the frame!. also by having the camera behind Sullivan instead of in front of him!. (when the camera follows the subject the audience is kept unaware) (when the subject follows the camera, they inform the audience as to what’s going on, as least to some degree by facial expressions, body language, etc!.)!. We the audience follow Sullivan into a large empty living room type area where Sullivan stops in front of a large picture window!.
4!. Conrad goes to a static shot from just outside the window's exterior looking in at Sullivan who’s looking out!. We watch him as he watches his son playing on the beach with the dog!. At the slightly less than 45 degree angle Conrad sets up, we are also afforded the visual of the boy though the reflection from the window!.
5!. That’s when I noticed something!. (after like my eighth or ninth time seeing the movie)!. What I noticed was an ever so slight shift in the lighting!. I noticed the lighting inside the room get just a bit warmer (a tad brighter but not a hard bright, a soft bright)!. Thusly bringing more detail to contents of the room’s interior!.
6!. Then without warning, POW… POW… Sullivan is shot twice through the back!. And with the "just a tad bit" lighter room we are now able to see that Sullivan walked into this room and past right by his enemy!. We watch in horror as the emotionless Maguire sets up his photo equipment in which Conrad only frames his feet walking in and moving about the scene!. In this scene Conrad never shows Maguire’s face until the point where he snaps the photo!. (in my opinion, I think its to dehumanize the assassin and to objectify Sullivan) Even then Maguire's so pale and lacking facial detail, he all but fades into total whiteness!. Even his eyes seem to be a very light shade of powder blue!. He appears to be very ghostly as does Sullivan who is now lying on the floor nearing death!.
7!. Time for the seamless and flawless rack focusing with alternate close-ups when Maguire discovers the boy standing behind him!. To give us yet another small twist, Conrad does a slow push onto the boy holding the gun to the point where we can’t exactly see the gun anymore, this has us thinking that the boy did in fact pull the trigger when we hear the shot!. He didn't, Sullivan did!. The last wide angle shot of the boy facing the ocean standing with his back to the camera changes the beaches description from tranquil to ominous!.
Thank you for giving me the excuse to watch this flick again… It’s one of my favorites!.
I sincerely hope this is what you were looking for
P!.S!. Conrad received an Oscar for his artistry on this film!.Www@Enter-QA@Com
Where to begin!?!.!. The goal of any cinematographer is to make us (the audience) feel whatever he or SHE wants us to without the aid of acting (body language, monologue/dialogue, or action)!. Simply put, they must capture us!. And a cinematographer must accomplish this with a mastery of set ambiance, lighting, lenses, and most importantly placement and movement of the camera!.
Conrad makes this task seem effortless!.
1!. I believe that Conrad wanted to set up one of the most horrific scenes in the movie, with the juxtaposition of one of the most beautiful settings!.
2!. He really goes out of his way to show us just how beautiful and serene this beach is!. He does this with the usage of cranes and wide-angle lenses!. Not to mention the sweeping panoramic shot from camera left that establishes the poetry of the almost too blue ocean lapping the shoreline of the tranquil white beach, along with our first glimpse of their clandestine hide away house neatly nestled amongst the flourishing greenery!. Up until the murders, if you were to pause the movie, the still frame would be every bit as picturesque as a Norman Rockwell portrait complete with an overly friendly barking dog!. The beach is calm and empty, the waves are not crashing, and the house stands alone peacefully!. The interior of the home is painted in a very calming eggshell white!.
3!. On Sullivan’s walk into the house, Conrad switches to steady cam, which always quickens the pace a bit!. This is amplified by the way that he has Sullivan walk into the frame!. also by having the camera behind Sullivan instead of in front of him!. (when the camera follows the subject the audience is kept unaware) (when the subject follows the camera, they inform the audience as to what’s going on, as least to some degree by facial expressions, body language, etc!.)!. We the audience follow Sullivan into a large empty living room type area where Sullivan stops in front of a large picture window!.
4!. Conrad goes to a static shot from just outside the window's exterior looking in at Sullivan who’s looking out!. We watch him as he watches his son playing on the beach with the dog!. At the slightly less than 45 degree angle Conrad sets up, we are also afforded the visual of the boy though the reflection from the window!.
5!. That’s when I noticed something!. (after like my eighth or ninth time seeing the movie)!. What I noticed was an ever so slight shift in the lighting!. I noticed the lighting inside the room get just a bit warmer (a tad brighter but not a hard bright, a soft bright)!. Thusly bringing more detail to contents of the room’s interior!.
6!. Then without warning, POW… POW… Sullivan is shot twice through the back!. And with the "just a tad bit" lighter room we are now able to see that Sullivan walked into this room and past right by his enemy!. We watch in horror as the emotionless Maguire sets up his photo equipment in which Conrad only frames his feet walking in and moving about the scene!. In this scene Conrad never shows Maguire’s face until the point where he snaps the photo!. (in my opinion, I think its to dehumanize the assassin and to objectify Sullivan) Even then Maguire's so pale and lacking facial detail, he all but fades into total whiteness!. Even his eyes seem to be a very light shade of powder blue!. He appears to be very ghostly as does Sullivan who is now lying on the floor nearing death!.
7!. Time for the seamless and flawless rack focusing with alternate close-ups when Maguire discovers the boy standing behind him!. To give us yet another small twist, Conrad does a slow push onto the boy holding the gun to the point where we can’t exactly see the gun anymore, this has us thinking that the boy did in fact pull the trigger when we hear the shot!. He didn't, Sullivan did!. The last wide angle shot of the boy facing the ocean standing with his back to the camera changes the beaches description from tranquil to ominous!.
Thank you for giving me the excuse to watch this flick again… It’s one of my favorites!.
I sincerely hope this is what you were looking for
P!.S!. Conrad received an Oscar for his artistry on this film!.Www@Enter-QA@Com