Film Opening Research: 21

21 is a 2008 drama film from Columbia Pictures. It is directed by Robert Luketic. The film is inspired by the true story of the MIT Blackjack Team as told in Bringing Down the House, the best-selling book by Ben Mezrich.

Though not recieving too well by the box office, the stylised shooting and extreme close ups of poker chips, playing cards, and the character's eye movements and expressions could be incorporated into our film opening.

Note; 21 features BlackJack whereas we intend to use Texas Hold'em.

Textual Analysis of first 3 minutes

Camera angles/shots and editing
Production Company logo fades in and out through black
(Digitalised/CGI) Camera travels up coloured lines, zooms out in spiralling motion to CU to reveal King of Spades.
MC Ace of Spades.
Zoom in quickly.
Poker chips LS, zoomed to ECU.
Tilt up Poker chips.
High angle quick pan over table.
Frame moves upwards from left corner
CU on cards
Zooms out slowly on playing cards
CU of eyes – card reflected on glasses lens
Ace of Spade – low angle pan over surface of card
Quick circular pan of table from outside – backs of players and hints of poker table visible.
CU poker chips.
High angle, zoom out spiralling.
CU of protagonist combing hair, putting on costume.
Frame is blurred, and then concentrates on character.
CU of cards changing, (digitalised) suit and number lighting up.
(Digitalised) Low angle camera spiralling poker chips.
CU protagonist.
Free hand, tilt down to folded arms.
CU touch to the eye.
Low angle CU feet, slow motion.
Quick paced, little transitions, lots of digital effects on cards and chips, snappy editing.

(Titles)
Production Company (Columbia) name fades in from black
Slow tilts of the cityscape.
Credits fade in – white Times New Roman text, capitals. Matched relaxed scenery.
Actor’s credits on right side – framing.
Slow pace.

Sound
Beginning – varying buzzing tone of trumpet – long note
Impact of card on table – slamming sound effect – similar to sound of air in a tunnel
40 seconds in – voice over of protagonist
Relaxed, cool and jazzy beat begins (low based guitar and drumming) – suits cool nature of game.
Background music – guitar becomes higher pitched.

Diegetic
Sound of card shuffling out card rack.
Sound of cards flicking.
Men’s feet stomping – resounding sound.

Non-diegetic
Voiceover.
Music.
Background sounds – people laughing, moving in chair, chips being moved when it’s not shown on screen.

(Titles)
Right after protagonist is seen with a panicked expression, first line of music is “I’m feeling rough, I’m feeling wrong in the prime of my life.” – Continuity in some sense.
Carefree, young, happy tune to start the movie – matches scene of person riding bike – “We’ve got the vision, now let’s have some fun.”
Lyrics also match the theme of Poker and the game – “We’re fated to pretend”

Mise-en-scene
Props: Playing cards, Poker chips, Poker table, Cards rack, Watch, Drink.
Costume: Fake moustache, Wig, glasses.
Set: Casino!?

Note: (Will take screenshots of more poker films to analyse!)

Prelim Final Product

TA DA!!~~

"Catch Them All" Draft Script

Written by - Jemma Rowlston

AGENT 1: Jemma Rowlston
AGENT 2: Sonia Wan
THE BOSS: Jack Blinman
THE VICTIM: Jack Blinman
*** SECRETARY: JODIE GLASSENBURY


TITLE SCREEN

(THE VICTIM feet are seen running down a road. Tracking shot.)

CREDIT SCREEN

(THE VICTIM is still running. Shot tilts upward from his feet.)

Scene 1

The Corridor

AGENT 1 and AGENT 2 are walking down a corridor. Other employees are busying themselves with papers, answering phones and tapping on computers. AGENT 1 is worried about seeing THE BOSS as this is her first job. AGENT 2 is more confident as she is more experienced.

AGENT 2
I’m nervous.

AGENT 1
Don’t be.

AGENT 2 gives AGENT 1 a doubtful look.

(THE VICTIM is seen vaulting a fence and carries on running.)

AGENT 1 decides to reassure AGENT 2

AGENT 1
We know everything went down the way it had to. Nothing will happen to us.

AGENT 2
But…but. The other guys…. They were telling me stuff.

AGENT 1 looks at AGENT 2 confused.

AGENT 1
Stuff?

AGENT 2
Y’know…stuff. Like what he does to people if they don’t get a job done. Y’know…the beheading… the disappearing… the electrocuting in a dark room surrounded by robot rats!!!

AGENT 1
The Henry the Eighth style execution?

AGENT 1 laughs quietly to herself. AGENT 2 stops with big eyes; believing AGENT 1.

(Point of view shot of VICTIM running.)

AGENT 2
Henry the Eighth?

AGENT 1 walks into an over the shoulder shot (ready for shot reverse shot), smiling evilly to herself. She nods at AGENT 2, teasing her. AGENT 1 talks jokingly with a smile.

AGENT 1
Yeah! The gutting, the eating your insides, the burning. The whole shebang!

AGENT 2 looks terrified. She gulps.

AGENT 2
Really? Does he really do that to you?

AGENT 1’s smile disappears to s serious face; an incident coming to mind.

AGENT 1
There was that one guy… But nothing to worry your pretty little head about. Come on.

AGENT 1 walks off. AGENT 2 is hesitant but follows, less enthused than before.

Scene 2

THE BOSS’s Office

They walk to THE BOSS’ door and push down the handle. As the handle reaches its optimum point, there is the sound of a gun being fired.
AGENT 1 and AGENT 2 walk into THE BOSS’ office. All is silent. AGENT 1 and AGENT 2 sit down at THE BOSS’ desk opposite him. AGENT 2 looks a mixture of terrified and confused/shocked. Throughout this scene THE BOSS is off camera until the reveal at the end.

THE BOSS
Is it done?

AGENT 1
Yes, Sir, it’s done. A clean job; Done and Dusted.

THE BOSS
Good.

There is silence. AGENT 1 turns to look at AGENT 2 as if THE BOSS has implied a question of AGENT 2s expression. AGENT 2 looks at AGENT 1. AGENT 2 and AGENT 1 look at THE BOSS.

REVEAL.

END- CREDITS

***

AGENT 1 and AGENT 2 walk out of the boss’ office. A SECRETARY walks up to them holding a folder.

SECRETARY
Agents, you’re next target.

SECRETARY hands the folder to AGENT 2 who opens it. AGENT 1 reads over AGENT 2s shoulder.

AGENT 1
Gareth Alverez.

AGENT 1 and AGENT 2 look up into the camera with a straight look.

END.

Prelim Evaluation: 6) What have you learnt about technologies from the process of constructing this product?

The process of constructing this product consisted of various steps that are essential: planning, production, post-production, and getting used to what is expected of a high standard prelim and reaching these targets.

Firstly, planning seemed to be simple. But then I learnt that every step, every thing you are going to do must be though out otherwise there would be consequences during the production. Questions like when, where, what, and how were looked over with every idea that came in mind. Overall the planning done in my first proper production was of good standard as we had a script, story board, locations list, shot list, and much more (refer to project form). Nevertheless, planning still needed improvements as there were continuity and 180-degree rule mistakes.

The process of production also had a lot of though put into it. Despite the planning of locations and shots, when on set there were still aspects that had to be thought through when combining the two. Scenes that included a lot of movement were difficult because the equipment was not the best. For example, tracking a fast-moving object/subject seemed easy on paper. But on set it became evident that with a skate board, the framing would move up and down often and the sound of the wheels powered over the sound of footsteps that were needed. Running along side the subject posed even more difficulty as we found out it was hard to watch the camera framing and running in pace with the subject.
Further mistakes or difficulty included understanding of the 180-degree rule, passer-bys constantly interrupting filming, organisation with booking locations and props (Inman’s office and pin boards), and the unsuspected extra tripping over the tripod – several times. Therefore, for future references ‘do not cross this line’ tape barriers will be bought and booking locations will be done weeks before and if the order is ignored we will chase the order till people will get tired of seeing us.

A skill that has been improved is using a camera. Familiar with the family’s digital camera, I was surprised when I was unsure of how to use the camera’s allocated. However after getting used to the camera’s functions it was easy to film. One particular thing I learnt was to always wear the safety band cameras have to secure it to your hand; especially filming while squatting on a fast moving skateboard. Safety is always first, with actors and equipment.

During post production, I learnt that editing is hard work and surprisingly takes up a lot of time. In essence iMovie was easy to comprehend after some time, and the ‘help’ section was sufficient. However there were many unexpected problems that occurred during the editing that delayed the original editing time planned.
Due to our group using both digital recorder and tape recorder to film footage, it took double the time to upload and import the clips. Victim shots were saved onto a DVD, so there were three pieces of equipment used to upload, and then to import all the clips onto one project. It was necessary but took far too much of precious editing time.
The most time-wasting problem that happened during editing was the sudden loss of sound when the first few seconds of a clip were cut. There was no logical reason for this and no resolution other than to upload the footage again onto a different folder on the system to avoid uploading again.
Most enjoyable part of editing for me is choosing the right soundtrack and sound effects that give the clips a dynamic and professional feel. Searching iMovie and the internet for sound effects and trying them out was fun. From doing this I learnt how to overlap sounds with scenes (sound bridge) for continuity as well as missing them with transitions so that a scene flows nicely.Post production is a very long process but the end result gives a feeling of pride and satisfaction that the work was done to the best possible.

If there were less problems encountered and more time, I would have liked to change the following:

• Correct 180-degree rule mistake
• Add gun shot sound or dead victim shot for more continuity and give film more logic
• Include our hilarious blooper shots
• Add after credits scene that was planned, however it was never used and the prop made was wasted. It would feature a roughly 5 second shot wherethe two agents are approached by the boss's secretary and are handed a wanted poster of their next target - the man picture dis a teacher holding an enlarged yellow-sticker filled in and signed by the boss Pikachu.

In conclusion I feel that the outcome of the prelim was what I expected and a lot was learned from the mistakes made.

Prelim Evaluation: 5) How did you attract/address your audience?

We attracted an easily curious audience by using suspenseful music with quick cut shots where the character’s face and situation is not entirely clear but only implied. The steady beat that drags and has a sequenced bass drum at the beginning, equipped with black and white shots where the victim is not revealed evokes curiosity and the want to know more. Implied information makes the audience what to know more about the film, whether they like it or not. The way the shots are cut reflects how the film is a variety and that you can always expect a surprise.

Working with the black and white colour scheme portrays the serious attitude and nature of the assassins and they’re job, in affect attracting a sophisticated and work-orientated audience. The title screen has a black background with white titles, which then fades into black and into the next scene. This fade is gradual, prolonging the wait and starting the film in a slick way – mirroring the professional theme of a sophisticated audience. The black and white victim scenes compliments with the assassin’s costume, wherein a link between the three characters could be inferred. The serious beginning part of the prelim, although showing different characters in different situations, is brought together by this colour scheme. The genre changes to something more light-hearted as bright colour is brought in with the Pikachu mask as red and yellow are very primary colours, therefore bringing in the primary school children audience into the target market range.

To attract the prelim’s specific target audience, (teenagers from 13-16) the casting ensured that the actors were teenagers too (also due to the fact that we could only find people of our age). As the main characters were assassins and a notorious Boss, casting teenagers for the role would create a sense of escapism and hope that teens could also have surreal adventures such as working as an assassin. It creates an idealistic fantasy world and allows teenage viewers to imagine themselves in action-packed missions such as those portrayed in the prelim, or to aspire to have the cool, independent characteristics that the assassins have. On the other hand, this fantasy-like theme could also come as a humour to teens and attract this audience because of the atrocity of the idea it could be a joke therefore enjoyable to watch.

The credits music is very happy and up-beat, reflecting to the possible laid back and highly-humorous audience. Those who want to try something different with an interesting twist may be lured to the film.

The name itself of “Catch Them All” will be an obvious Pokemon reference to anime fans, and the general teenagers of our generation as the slogan is legendary and widely known. However the link between the title and the Boss will not be patent till the very end. Therefore the title itself can arose curiosity. At the scene where the boss is revealed, the editing is quick paced and un-even, reflecting the surprised reaction the audience will have.

Current audiences of the film are people who enjoy watching films in general, and that is fellow Media Students. Family and friends have also seen the prelim and most feedback has been positive. However there have been comments indicating the problem with continuity as it is not completely clear who the victim was and it was not confirmed that the two agents are assassins as it does not directly say so. Therefore for future reference, to make the film more understandable the target audience, a non-diegetic sound or sound effect such as a gun shot could be synchronised over to give more implication that the victim was the agent’s target. An alternative way of expressing this would be a close up shot of the victim being shot down, but with complete silence rather than diegetic sound for suspense.

Prelim Evaluation: 4) Who would be the audience for your media product?

Gender: Unisex

Age range: Teenagers or older. 13- 16+

Interests: Action films, bounty hunter/assassination films or theme, mystery, witty humour, clever script, anime/manga, cartoons.
The character/spirit of the audience would be a wide range. It would appeal to those who are at the older scale of the age range, such as parents who enjoy watching funny, action films suitable for their children. The spirit of these people would be very family oriented in that they like films that have the kind of ‘Disney magic’ type of feel.
It could also appeal to Teenagers, who can watch films that have some explicitly in terms of language, gore, and plotline, but also enjoy the carefree and humorous side of the prelim. These teens will have a passion for an interesting plot with twists but also enjoy the conventions of a typical film with the themes of assassins.
There is always the potential that those who do not have the interests from above like our film as it caters for many types of audiences.

Prelim Evaluation: 3) What kind of media institution might distribute your media product and why?

Realistically my prelim would be distributed by examiners as prelim examples. It could also be viewed by the school on the school’s talmos/sharepoint website, on the Media and Photography section.
As a group, we are planning to create our own youtube channel therefore the prelim could feature on that with our future works. As the genre includes comedy and features Pikachu from Pokemon in a different and almost parody-like way, it can class as a spoof. With the examples given so far, there would no charge to see our film. It could also be used at fundraisers for charity, and the price to see it will either be a donation or £1 minimum as it is only a 2 minute video.

Nevertheless, if our prelim were to make into the film industry, or rather the idea of it, companies that may distribute it would be; An animation studio - such as Dreamworks or the Japanese Ghibli productions who often work with Hayao Miyazaki (award-winning Japanese director/animator/producer).

Prelim Evaluation: 2) How does your media product represent particular social groups?

Gender: Unisex in terms of themes, but mainly towards girls, because the assassins are female. This is significant in that they present women in what would be a stereotypical male role. It can also be bias to males because the victim if the two assassins is male. The theme of Feminism brings the gender to mainly girls but it can be for boys too.

Age: Teenagers, 13-16. The idea of assassins will not suit younger children but with the Pikachu surprise it is acceptable for teenagers and older. If there would be a real film based on this idea it will most likely be rates PG.

Ethnicity: There is no particular ethnicity presented in my media product, however the two agents do have different racial backgrounds it makes no difference to the contents of the film.

Physical ability/disability: As said in gender, my media production can be seen as bias toward males because the two assassins are female and the victim male, it could be inferred that females make better assassins. However there is no direct inclination of this so there is very little reference to physical abilities between females and males.The social groups represented in your films would be 6th formers, lower school students, teachers etc.

The main social group represented in the prelim are sixth formers as this is a sixth former’s prelim. In general the image of sixth formers is positive. They have been portrayed as fun people who are not afraid to be a little childish, from the pikachu godfather, and quite witty from the stereotypical torture methods in reference to Henry the eighth. At the beginning for the prelim, sixth formers are seen in a different way. Agent 2 worries over getting the work done properly and Agent 1 is calm, collected and organised about it. This can mirror the way sixth formers are studious and serious about their education.In the scene where the boss of the assassins are revealed, it is made comedic with 3 different shots in sync with the cartoon ‘boing’ sound, despite the rumours of how terrifying the boss is. This non-diegetic sound discards the tense atmosphere created previously.
During the victim scenes, it is made to be very quick and tense, done so by cut short shots with lots of action such as vaulting, jumping, and running.The prop of the pikachu hat in itself is hilarious. To give the impression that the sixth formers are studious, and for the mise-en-scene of assassins, the costumes differed depending on the character. Agent 1 was quite laid back so was allowed hair down and studded belt. On the other hand Agent 2 was new and very conscientious so her hair was tied up and colour theme all in black to give off the tight, serious and ‘productive worker’ look.

Within the film, the assassins are presented very differently. They are presented as people to be feared from the way the boss is illustrated through dialogue. He is a mysterious, and infamous person where the only thing people know about him is his terror. On the other hand, the two female agents ahve very contrasting personalities that make them very relatable in real life that they don't seem like assassins. In particular agent 2, and the student-senior relationship they have as assassination partners. Contrastingly there is one scene that shows them as powerful; a passer by in the assassination office obviously makes way for agent 2, as if he truly fears her. This gives the image that although there is a sense of realism in their personalities they still hold the typical assassin reputation.

Locations, and why we chose them

Victim scene: POV shot.
Concrete pathway needed to be long enough for the POV to be filmed at a running pace. If several pathwyas were used it would be unrelaistic and have little continuity, therefore this area was chosen.

















Victim scene: feet tracking shot
Same place as POV shot was used for continuity and logic ;)

















Victim scene: Steps jump panning shot
Within the vicitm scene set and steps were outside. If they were inside there would be less space to film in for a panning angle.

















Victime scene; (possible) Long shot of victim running around corner
This was a potenital area becuase a long shot would reveal the victims face.

















Victim scene: Vault - medium shot and low angle shot
Located at the end of the POV shot pathway, this location made sense at it would show continuity. In terms of mise-en-scene, the way the fence is built allowed the camerman to crawl under to film, while the victim vaulted. The short fence was also used as safety percautions were taken into consideration.

















The Boss scene: Over shoulder shot and medium shot of agents.
This room was perfect for the match on action shot, and boards could be used outside as a makeshift corridor. Permission and timetable arrangements was amde with Mr. Inman to use this office.

















The Boss scene: Pikachu's chair! Close up and medium shot of the boss. The 'un-masked masked man' shot :)
'Spinny-chair' was necessary for mise-en-scene.




















The Boss scene: Match on action set.
Camera was/must be framed so that 'Head of Sixthform' sign is not visible for mise-en-scene purposes.

















Corridor scene: Assassination office workers desk.
This desk was in the corridor we used, and could not be removed. Therefore office and stationary props were place for mise-en-scene. This included files, newspaper, and 'wanted' sheets.

















Corridor scene: Agents long shot.
















Corridor scene: Agent's establishign shot.

















Corridor scene: Agent 2's walk into over shoulder shot.
During this shot, lockers were visible (assassins don't need lockers) therefore large display pin boards were booked out. For mise-en-scene 'wanted' sheets, newspaper clippings and other scrap paper was pinned haphazardly onto the boards to mimic a hit-list board.

Planning: Project Proposal Form

Title of Project:
Planned to be – “Get then All”
Later changed to – “Catch them All”

Brief Synopsis of Project:
A light assassination story with a comedic twist.
Two agents wlak down a corridor towards The Boss’ office. The Boss is notoriously known as the scariest around. The newbie agent, Agent 2 is particularly worried over meeting the boss to confirm their mission complete. Meanwhile, there are flashbacks of the victim being chased and murdered.
The agents enter the office and Agent 2 finds the boss is not what was expected at all.

Group involved in production:
Sonia Wan – Costume/stylist, Assistant writer, Co director, Part cameraman, Part editor.
Jack Blinman – Director, Part cameraman, Assitant writer, Part editor.
Jemma Rowlston – Writer, Co director, part cameraman, Part editor.

Estimated time allocated to production: 1 week 3 days.

Estimated time allocated to POST production: 1 week 4 days.

Equipment required:
Camera
Tripod
Mac
Microphone
Clapper Board
Skateboard

Locations:
Sixth form Media corridor
An office with a ‘spinny-chair’ (Mr Inman’s)
Fences and grassy area outside Library
Steps outside library
A long concrete pathway (Outside Fitzroy)

Casting:
Agent 1 – Jemma Rowlston
Agent 2 – Sonia Wan
Victim - Jack Blinman
The Boss/Pikachu - Jack Blinman
Office Extras – Jodie Glassenbury, Luke Goodliffe, Nick Lange.

Further comments: Our newly appointed group slogan!! “Action + stupidity = decent!”

Prelim Evaluation: 1) In what ways does your media product use, develop or challenge forms and conventions of real media products?

The shot-reverse shot used in the prelim did not challenge this convention and rather, conformed to it. It establishes the character’s expression during a conversation as well as allowing the audience to view character-two’s reply. It acts as an informative shot as it gives the viewer a lot of understanding of what’s going on in the scene.












0:31 – Shot-reverse shot uses mid-close up so that facial expressions are clear and provides shot variety.












0:34 – Here it displays expression clearly and also establishes the scenery from the background. Whilst keeping to the rule of thirds, the shot has a more professional and dynamic look.

On the other hand, it also develops the shot-reverse shot because the character (Agent 2) and the camera move simultaneously so that Agent 2 walks into the reverse shot. (Refer to prelim video: 0:26 – 0:32.)

The 180 degree rule ensures that the viewer’s sense of proportion is natural when watching as it keeps the same left/right relationship between characters. If the camera passes over the imaginary axis connecting the subjects, sense of proportion and continuity is distorted. In the prelim, it follows this rule and keeps with the convention so that it makes sense and the scenes flow. However in “Catch Them All” the line is crossed in the corridor scene during the over-shoulder shot.

This is how the prelim crossed the 180-degree rule line.

0:45

0:51

This diagram represents how it should have looked.

0:45

0:51

This following diagram shows how the camera positoned in the over-shoulder shot had crossed the line from a birds-eye view.

The Match on Action shot takes place between 1:03 – 1:06. It gives a sense of continuity and realism to the film. During filming this shot was taken in four different scenes that were cut down and put together to create one flowing movement. A close up of the handle clicking down and up from both sides of the door was done so that the audience feels like their sweeping through the scene from both Agent 1’s point of view and the Boss on the other side of the door.


In the majority of the prelim Camera framing is done suitably. Framing is essential as it means including relevant or logical scenery within the camera’s view. For example, if someone is walking down a corridor, the camera needs to be a certain distance away from the character so that when framed, there is part of the floor visible for the character to walk into. If camera is framed too close otherwise, it will look like the character is stationary when he/she is meant to be walking. In the prelim, there were exceptions within camera framing, such as…












1:03 – This shot is a close up from the side of the head. Conventionally close ups show the face but this shot does not as it is meant to show the movement of the character. It poses not other purpose than that as it does not establish backgrounds well.













1:07 – Here the framing is developed as it cuts off the Boss’ head. This is done on purpose so that his face remains hidden. The shot is a combination of over shoulder, mid-close up, and practices the rule of thirds.

During post production the following mistake was found...






















As the Agents walk round the corner to the left from right in the corridor at the end of that scene, we edited it so that the scene was cut straight to Agent 1 walking up to the boss' office, framed so that the walked from right to left.
It was later clarified that this was wrong in terms of continuity and camera framing.
In the future I will be sure to set out shots and camera positioning and carefully chekcing them before filming.



The following are the Camera Shots and Angles were used:












A mid-close up tracking shot is used here. It keeps the body and face hidden to evoke mystery and curiosity. The jagged tracking and running implies the character is caught in a chase. The black and white in the victim scenes such as this also implies the shot to be a flash back or memory.

The Point of View shot here shows continuity as it shows the set where the victim is running at. The pace of the running and the off-balanced framing displays the urgency of the character and creates suspense.













A long shot of the corridor can become an establishing shot as it shows the background scenery well. From the moment it fades into the scene the audience has the impression of an office from the corridor, the desks, and pin board, as well as a full body costume.













Following up the long shot, a mid shot gives more information on the characters and clearly shows the dialogue between them. It also reveals that they are walking because of the backwards tracking; showing the background mise-en-scene moving further away.













This shot potentially challenges the conventions of shots as it is a medium shot of the landscape but the subject in it, is not framed at any point of the scene. The character vaults and because he moves in and out of the frame there is not definite shot of the character.













The shot here is a low angled close up of the subject vaulting a short fence. It is a dynamic shot as it includes scenic clouds and provides a different angle to the victim’s chase scene.













This is the victim scene's mid-long shot pan. A pan of the victim running from top of stairs then jumping it makes everyhting look quicker, creating tension and suspense needed.













A standard over the shoulder shot gives information on who the characters are talking too, and also shows their expression in reply to the dialogue. It is used here so that the difference between the character’s personalities is clear. Agent 2 is less experienced in assassination therefore it was important to show her expressions with the nervous voice to give the character more depth.













Both agents in this medium shot walk out of the camera frame, giving continuity to the scene. It also clearly shows Agent 1 spinning around Agent 1, revealing her confident and leader-like attitude and Agent 2’s expression again.













This close up on the door handle follows another from the other side of the door during the match on action shot. It is used to prolong the match on action and the build up to meeting the boss. It signified the change of atmosphere in the room with the door's 'click'.













A over shoulder medium shot is used here, however it is possibly a 'reverse over shoulder' as the boss in the foreground is facing the camera. The sense of mystery is continued as the boss's face not within the camera frame. The shot stays the same when the boss swivells the chair around to address the agents for continuity.













It was essential to fit the two agents into one frame, with expressions visible in this scene as no dialogue is present. So a standard medium shot is used. The table was frameed visible for mise-en-scene, as well as the door and the window for we had extras walking past the door to give realism. (However extras are not visible in this still shot)













Prior to this shot is a mid close up, followed by a medium shot, and then this close up. The combination of the three in this order gives the effect of surpirse. The idea behidn it was to mimic someone looking at soemthing twice to check if its real. Additionally a sound effect of a cartoon 'boing' was synched over to match the shots to create humour.

Testing.. testing... 1 2 3!!!!!