GATTACA horizontal boring

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Written and Directed by Andrew Niccol

    Scene Analysis by Scott Park
        FVT 150, Summer 2002

    Scene: Finale, "Going Home"
        Aspect Ratio: 2.35:1

GATTACA is a film about a possible future.     Man has mastered

genetics and has taken over evolution.     Superior children are

made simply by manipulating genes.     It’s an examination of one

of man’s greatest aspects.     In fact, the film’s tagline is

"There is no gene for the human spirit."     The superior are

often complacent, confident in their inherent abilities.

Those who’ve been conceived naturally are considered lower

class, but really are the fighters, constantly struggling to

earn what others are handed.

One of the main characters is Vincent (Ethan Hawke), a

"disadvantaged birth" who dreams of space travel.     Another is

Eugene (Jude Law), a superior man, ex-Olympic swimmer, who

after a paralyzing accident is no longer of use to society.

This final scene is actually a sequence of inter-cutting

between two scenes.   One is the triumph of Vincent, the

realization of his dream.    This is compared to and contrasted

with the other scene, Eugene's suicide.

Shot 1:     15 seconds, 8 frames

Size:     This shot slips between a close shot and a full close-

up as the character moves around in the frame.

Sound:     A very light classical style score is played

throughout these two scenes.       This shot includes sound effects

emphasizing Eugene’s struggle to enter the incinerator.         His

hands thud against the door frame, and he gasps as he works to

get inside.     The scene begins with the hard, cold mechanical

whoosh and whirr of the door opening, against which the

character’s organic noises are contrasted.

Contrast Dominant(s):     Shortly after the shot begins, Eugene’s

hands appear at the bottom of the door frame.       His hands

contrast sharply with the frame, immediately drawing the eye.

When the rest of his body appears, he’s dressed in a dark

suit.     The sides of the doorway are light as is his face.      The
contrast draws attention to his face, but his dark body is not

lost as would be the case with a darkened door frame.

Character Movement:     At the beginning of the shot, the

paralyzed Eugene is laying on the floor out of frame.       The

character moves up, pulling himself up and into the lower

portion of the door frame and the center of the camera frame.

He struggles to get into the incinerator and halfway through

the doorway turns to back in.    In doing so, he occupies the

left two thirds of the frame.    At the end of the shot, he has

almost completely turned and returned to the center of the


Character Proxemics:     When he comes into frame, he is directly

facing the camera.     As he turns, he first faces off-camera in

profile and moves off center, occupying the left two thirds of

the frame.   Then by the end of the shot he has almost

completely turned his back to the camera and returned to the

center of the frame.

Camera Movement:     Camera movement is minimal, but interesting.

For most of the shot the camera pans and tilts slightly to

keep the character centered.     But when the character is mid-

turn and moving to the left of the frame, the camera only

partially keeps up.    It doesn’t pan so far as to lose any view
of the doorway, apparently giving equal value to the character

and his exit.

Camera Angle:     The angle is low, which is eye level with the

prone Eugene.     This helps involve the viewer by bringing them

to his level.

Lens Used:     A telephoto lens was used for this shot, keeping

the viewer focused on the character and increasing the cramped

feeling of the confined space inside the incinerator.

Depth Of Field:     The depth of field is narrow; only the

character’s plane is in focus.     This helps to keep the viewer

focused on Eugene, but also makes the outside world literally

less defined, and figuratively more distant, less accessible.

Lighting:     First, the room outside the incinerator is seen

through the open doorway and although it’s out of focus, it’s

lit in such a way as to create planes of depth.     This more

open feeling outside the incinerator contrasts with the small,

prison feeling inside.     Second, is the low-key, blue lighting

of the incinerator itself.     The fact that it’s lit at all,

that the character isn’t pulling himself into abyssal

blackness, gives some clue as to what Niccol wants the viewer

to feel.     And the color used supplements this.
Color Usage:     The most obvious use of color is the lighting of

the incinerator’s interior.     Instead of complete darkness,

even white light, or a harsh red, a softer blue is used.        And

lush green foliage, nearly completely absent from the rest of

the film, beckons from a distant window.

Screen Graphics/Composition:     This shot has a very simple

composition.     It is mostly balanced throughout.   Even when the

character moves to the left of the frame, the right side is

almost balanced by the weight of the open doorway, the path to

safety.    The character is accentuated by the doorway and the

plants are surrounded by the window, frames within the frame.

There are many more and stronger vertical lines than

horizontal.    The framing is tight, leaving only z-axis options

for the character.     The foreground is death; the background,


Editing Style:     This is an A roll shot.   Although short, it

shows all of the necessary action then cuts to the parallel

action in the other scene.

Time:     Shown in real time, the intention is clearly to compare

the final journeys of these two men.
Subtext:     More interesting than what’s obviously about to

happen is the overall feeling toward this act and the

character committing it.     The music is not panicked.    The

light within the incinerator is almost soothing.     The

character is very calm.    The feeling is not at all condemning

of Eugene.    The elements clearly show what’s to come and pull

the viewer in to be a part of it.      But they then manipulate

how the viewer should feel about it and toward whom:       "Feel

sorrow for Eugene, but feel disgust for this society."       The

brilliance of this effect is rather than condoning the suicide

or lashing out at the character, it moves the target of the

viewer’s negative emotions, anger and revulsion, to his world.

As if to say, "How sick is this society?     How skewed have

priorities become that this man will be happier dead than


                                   Shot 2:   13 seconds, 23 frames


                                   This is


shot throughout.     Although the camera stops and Vincent

continues into the frame, the focus then seems to shift from

him to the technicians.

Sound:   Vincent's shoes echo on the corridor floor and there

is a mechanical clunk from the closing hatch.

Contrast Dominant(s):     Vincent’s dark suit contrasts sharply

with nearly everything else in the frame.     The corridor is

white.   The spacecraft hull and door are a dull silver.       The

technicians are dressed in white; their dark hair is covered

by white lab hats.     Even the other astronauts walking in front

of him are obscured by his larger, closer body.     The

technicians themselves are extraordinarily unremarkable.        They

could be twins; identical nameless cogs blending in with the


Character Movement:     Vincent glides effortlessly down the

corridor.     To get through the hatch he has only to nod his

head slightly.     The two technicians close the hatch for him.

Character Proxemics:     Vincent’s face is never seen throughout

the shot; he is only seen from behind.     Even as he turns to

follow a right-facing path within the ship, his face is hidden

by the hatch doorway.     There is something odd about the
arrangement of astronauts in this shot.     Vincent is the last

in a line of six astronauts entering the ship.     But a seventh

is waiting just inside.    As Vincent passes him, the seventh

turns and follows.    This could have been blocked more easily.

One possibility is that this shot is a miniature arc mirroring

Vincent’s overall progress throughout the movie.     He starts

out in last place, but doesn’t end so.    A more mundane,

technical explanation might be    that this was one way to

simultaneously show all of the astronauts, keep the focus on

Vincent, and show he’s not in last place.     Neither of these do

it for me.    I’m missing something.

Camera Movement:     The camera follows the character as he walks

down the corridor, but stops before entering the hatch.      The

camera remains stationary as Vincent continues into the ship.

This combination of motion and then stopping invites the

viewer to be a part of the action, but only so much.     Stopping

with the technicians pulls the viewer back, as though

Vincent’s done something so amazing, the viewer can’t be a

part of it.

Camera Angle:    The camera is at eye level throughout the shot,

almost a POV shot.    The viewer starts out as an "eighth"

astronaut, but ends up as just another technician.
Lens Used:     A wide angle lens is used to help build a feeling

of depth and progress as Vincent moves down the hallway.

Depth Of Field:     The depth of field is large.     Everything in

the shot is in focus at all times with the exception of the

seventh astronaut.     But even at his distance, he’s only

slightly fuzzy.

Lighting:     The lighting is bright and mostly motivated, coming

from obvious sources.     There are overheads in the corridor and

outside the hatch.     Inside the ship are wall lights.    The

cylindrical corridor is painted a reflective silver-white and

lit from the floor as well as the ceiling.     The effect is an

interesting "tube of light".     The one unmotivated light is a

very subtle red outside the hatch.

Color Usage:     Color usage is extremely minimal.    The only non-

greyscale color used is a red light which gives only a tiny

bit of organic feeling to this sterile environment.

Screen Graphics/Composition:     The composition is all about

circles.     There are very few straight lines at all.    It is

very balanced and almost symmetrical.     The astronauts exiting

to the right are offset by the hatch door on the left.
Editing Style:     This A roll shot is the same length as Shots 1

and 3, helping the comparison temporally.

Time:     The shots throughout this scene are in real time.

Subtext:     One of the main contrasts between this and Eugene's

scene is the effort used by each man.     Eugene huffs and puffs;

Vincent saunters.     Also, Vincent is accompanied by crewmates

and helped by technicians.     Even the door locks itself.

Eugene is completely on his own.     Another difference is the

ironic flipping of social presence.     Vincent, the outcast, has

become part of society, albeit superficially.     In this scene

he's joined by co-workers, if not comrades, and technicians.

Eugene, the one engineered for society, is all alone.        Also,

there are some clear birth references within the shot.

Vincent is moving down a softly lit "canal".     The technicians

helping him are dressed more like doctors than mechanics.        The

hint of red is a splash of blood in the set’s hospital


Shot 3:     14 seconds, 10 frames
                                   Size:    This is a wide close-up

                                   of Eugene.

                                   Sound:    There is a mechanical

clunk and hiss as the door closes.

Contrast Dominant(s):     Even stronger than Eugene's face

against his dark suit is the dark door surrounded by the light

door frame, emphasizing it's importance.

Character Movement:     Eugene starts the shot curled up in the

center of the frame, just inside the incinerator door.       He

then moves closer toward the camera and stretches out, ending

up at the far right of the frame.

Character Proxemics:    He is in near profile for most of the


Camera Movement:   The camera pans and tilts only slightly with

his movement, keeping the door in frame.

Camera Angle, Lens Used, Depth Of Field:      See Shot 1.
Lighting:     In this shot there is an additional effect light

which has the appearance of light coming through a vent onto


Color Usage:     See Shot 1.

Screen Graphics/Composition:     The framing is still tight.

There are new horizontal lines with the closed door,

counteracting some of the uplifting verticals.     The plants are

now barely visible though the windows in the door.     The shot

still feels balanced.     Eugene and the door begin centered,

then end in opposite sides of the frame.

Editing Style:     This is an A roll shot, possible another cut

from the take used in Shot 1.     It seems a little long for

conveying the necessary information, but it coincides nicely

with the length of Shot 2.

Time:     See Shot 1.

Subtext:     This is a continuation of Shot 1.
Shot 4:     8 seconds, 19 frames

Size:     This is a full close-up


Contrast Dominant(s):     The

faces of the three astronauts contrast with the grey

background of the spaceship.

Character Movement:     They are perfectly motionless.

Character Proxemics:     All three face the camera directly,

completely ignoring each other.

Camera Movement:     The camera pans right to left, contrary to

the "normal" descriptive panoramic accepted by left-to-right

western culture.

Camera Angle:     The camera is eye-level with the seated


Lens Used:     There aren't many references, only the astronauts

and the blurry, empty background, but I think the lens is

telephoto.    First, it makes more sense to build the set a few
feet deep and use a longer lens.     Also, as the camera pans,

the portholes seem to move at the same rate as the astronauts

with little change in perspective (inner vs. outer window of

each porthole).   These suggest the background is fairly close

to the actors relative to the camera.

Depth Of Field:   The depth of field is shallow.    Only the

actors are in focus.

Lighting:   Key, fill, and back lighting are minimal.    The

majority of light comes from effect spots that constantly move

over the actors and background.    Presumably this is the result

of light outside the ship coming through the portholes.

Color Usage:   There is almost no color at all.    The only

exceptions are one actor's blue eyes, and a dim blue light

giving some faint blue highlights.

Screen Graphics/Composition:    The shot is very simple and

balanced.   There are three subjects, but only one is seen at a

time with any detail.   There are no leading lines, but the

panning camera acts as one.    The things that catch the eye are

the actors and the moving light.
Editing Style:    This is an A roll shot.   The cuts are now

getting shorter, increasing the tension.    This shot is

continued and finished in Shot 6.

Time:   Some time has been compressed between this and the

previous shot of Vincent (Shot 2), although this isn't

apparent until Shot 6.

Subtext:   This is a conformist's wet dream.     They're dressed

the same and groomed the same.    All three men are of different

races, but they're lit to show almost identical skin tone.

The black man has a brighter spot covering more of his face.

The oriental man's light covers less of his face at a time.

And the white man's light is much dimmer.      Also, there is no

emotion at all.    These people are about to rocket out into

space and there is no joy, no sense of wonder, not even the

least bit of apprehension.    These things are drones, not men.
Shot 5:     6 seconds, 4 frames

Size:     This is a full close-up.

Sound:     There is only a very faint tinkling of the medal as

Eugene puts it around his neck.

Contrast Dominant(s):     The greatest contrast is between the

light on Eugene's face and his dark clothing.

Character Movement:     Eugene pulls his Olympic medal from his

jacket and puts it on.

Character Proxemics:     See Shot 3.

Camera Movement:     The camera is stationary.

Camera Angle, Lens Used, Depth Of Field:     See Shot 1.
Lighting:     The reason for the lighting described in Shot 3 is

now apparent.     From this seated position, part of Eugene's

face is now bathed in bright light, immediately drawing


Color Usage:     The only new colors are the red and blue stripes

on the medal's ribbon.

Screen Graphics/Composition:     The frame is a little out of

balance now.     Eugene is off-center.   The windows in the door

form clear leading lines.     The relatively brightly lit door

frame is now a graphic barrier between Eugene and the door.

And the unimportant framing of the door helps remove exiting

as an option for Eugene.

Editing Style:     This is an A roll shot, half as long as the

previous shots in this scene(Shot 1 and Shot 3).

Time:   See Shot 1.

Subtext:     Eugene donning his silver medal is an interesting

contradiction.     On one hand it's the symbol of his inadequacy,

his inability to get the gold, a fitting accessory for his

suicide.     On the other hand, he seems to carry it with him at

all times, apparently a source of pride, as it *should* be.
It's heart-wrenching to see this symbol of greatness used to

imply a shortcoming.

Shot 6:     6 seconds, 10 frames

Size:     This is a full close-up.

Sound, Contrast Dominant(s), Character Movement, Character

Proxemics:     See Shot 4.

Camera Movement:     The camera continues its pan from Shot 4 and

ends on Vincent's face.

Camera Angle, Lens Used, Depth Of Field, Lighting, Color Used,

Screen Graphics/Composition:       See Shot 4.

Editing Style:     This A roll shot is a continuation of Shot 4.
Time:     See Shot 4.

Subtext:     This is the culmination of Shot 4.    A female

astronaut is shown, just as boring as the first three.        Even

her gender is downplayed; her hair is pulled back and she's

wearing the same asexual black suit as the rest of them.          Then

the camera stops on Vincent.       The simple difference of his

closed eyes, unremarkable in real life, is a glaring step away

from his crewmates.     He must be bursting with excitement,

finally realizing his dream.       But he's become so used to the

part he plays, he shows nothing.       He only closes his eyes to

savor the moment.

Shot 7:     4 seconds, 14 frames

Size:     See Shot 5.

Sound:     The crescendo of the rocket's engines powering up

Contrast Dominants:     See Shot 5.

Character Movement:     Eugene studies his medal, drops it, and

looks to the incinerator's activation switch.

Character Proxemics:     Eugene is almost, but not quite in


Camera Movement, Camera Angle, Lens Used, Depth Of Field:        See

Shot 5.

Lighting:     Another reason for the spot first shown in Shot 3

has appeared.     With the medal around Eugene's neck, the ribbon

is now the best lit and most colorful object in frame,

underlining its importance.

Color Usage, Screen Graphics/Composition:     See Shot 5.

Editing Style:     This is a continuation of Shot 5, an A roll


Time:     See Shot 5.
Subtext:     It isn't clear what is going through Eugene's mind

as he looks at the medal, but he doesn't seem upset or

regretful. There is no internal struggle about whether or not

to carry through with this act.     There is only a faint look of

surprise, as though he's thinking "this isn't the way it

should be", or specifically toward the medal, "this should be


Shot 8:     2 seconds, 24 frames

Size:     This is a close shot of Eugene as seen through the

incinerator door from outside it.

Sound:     After Eugene activates it, the incinerator powers up,

paralleling the rocket's engines.
Contrast Dominant(s):     The greatest contrast is between

Eugene's white shirt and his dark suit.    But his face is

larger and contrasts with the blue-lit room, so the eye will

probably go there first.

Character Movement:     Eugene reaches to activate the

incinerator, then drops his hand.

Character Proxemics:     Again mostly in profile, but now facing

the other direction, Eugene doesn't seem to want the viewer


Camera Movement, Camera Angle, Lens Used, Depth Of Field,

Lighting, Color Usage:     See Shot 7.

Screen Graphics/Composition:     The shot is though one of the

narrow horizontal windows in the incinerator door.       This gives

a crushingly tight frame of the character.    Unbalanced at

first with Eugene in the left third of the frame, it becomes

more balanced when his hand appears then returns to


Editing Style:   This is a very short A roll shot.
Time:   See Shot 1.

Subtext:   Purposely breaking the axis jars the viewer and

coupled with moving them outside the door helps to show Eugene

is now on his own.    The viewer can no longer be a part of

this.   Eugene now has quite a different expression, too.

Contemplative in the previous shot, his face now shows resolve

and maybe some bitterness.
Shot 9:     3 seconds, 25 frames

Size:     This is a close-up of the spaceship's rocket nozzles.

Sound:     There is a tremendous roar as fire erupts from the


Contrast Dominant(s):     The fiery exhaust first contrasts with

and then completely obscures the dark nozzles.

Character Movement, Character Proxemics:     N/A

Camera Movement:     The camera is stationary.

Camera Angle:     The camera is eye-level with the nozzle

Lens Used:     Unknown.   This shot is either miniature or


Depth Of Field:     Unknown.   The only object in frame is in


Color Usage:     The only color is the rocket's exhaust.     The

reds and oranges contrast with Eugene's blue and Vincent's

colorless scenes.

Screen Graphics/Composition:      The frame is top-heavy, leading

the eye in the direction of imminent motion.

Editing Style:     This is a B roll cutaway shot from Vincent's

launch scene.     But juxtaposed with Eugene activating the

incinerator, the intent is obvious.

Time:    This is shown in real time.

Subtext:     Although this is part of Vincent's scene, it

directly follows the shot of Eugene switching on the

incinerator, greatly increasing the image of Eugene's death.
Shot 10:     3 seconds, 21 frames

Size:    This is an extreme close-up of Vincent's face.

Sound:     The only sound is the score.

Contrast Dominant(s):     Vincent's light face is shown against

his dark chair which in turn contrasts with the light


Character Movement:     The character's only movement is opening

his eyes.

Character Proxemics:     Vincent faces the camera directly,

looking right at the viewer.

Camera Movement:     The camera is stationary.
Camera Angle:     The shot is eye-level.   I think this is less

about confrontation and more about isolation.     Vincent is more

separated from any details than would be possible with another


Lens Used, Depth Of Field, Lighting, Color Usage:      See Shot 6.

Screen Graphics/Composition:     Vincent's face is partially

framed by the chair.     The shot is balanced and symmetrical,

although the spotlights downplay the symmetry.

Editing Style:     This is a close-up of Shot 6 and is also an A

roll shot.

Time:     This is shown in real time.

Subtext:     The viewer is close to witness Vincent's feelings as

the ship lifts off.     Vincent's already subdued internal

celebration takes a bittersweet twist shown alongside Eugene's

suicide.     In fact the extent of his solemnity approaches

sorrow.    He can't know for sure what Eugene has done, but it

helps reinforce the connection of these two men.     Connection

is something Niccol has been trying to show is missing in this

Shot 11:     4 seconds, 18 frames

Size:    This is a close-up of the spaceship's exterior as it

leaves the launch area.

Sound:     The roar has been replaced by a subdued, windy rush.

Contrast Dominant(s):      The contrast is slight.   The brown

exterior of the ship is barely different from the launch

structure.    The eye moves to the motion of the rising ship

rather than any color contrast.

Camera Movement:     The camera is stationary.

Camera Angle:     The camera seems to be about halfway up the

length of the ship.

Lens Used:     Unknown.   The drop-off is indiscernible from this

Depth Of Field:     The scene is either miniature or computer-

generated, but the apparent depth of field is wide.

Everything is in focus although there would be a hundred feet

between the ship and the launch structure.

Lighting:     The shot is lit dimly from below.

Color Usage:     The use of color is minimal.     The ship is a dull

brown and grey.     The launch structure is grey.

Screen Graphics/Composition:     The shot is weighted toward the

right.     There are more vertical lines underlining the

direction of motion.

Editing Style:     This is another short B roll cutaway from

Vincent's scene.

Subtext:     Another example of dispassionate conformity.      The

dull ship rises slowly into the sky.     There is no dramatic

camera angle or sound effect of the ship rocketing to the

stars.     This is a very plain, lifeless depiction.    Even

something as wondrous as man sailing into space is boring in

this place.
Shot 12:     5 seconds, 26 frames

Size:    This is an extreme long shot of the spaceship rising

into the sky.    In the mid- to foreground is GATTACA.

Sound:     Rumbling from the ship's rockets can be heard.

Contrast Dominant(s):     The ship's bright exhaust above the

black mountains is the greatest contrast.     There is also some

contrast between     GATTACA's lights and its dark landscape.

Character Movement, Character Proxemics:     N/A

Camera Movement:     The camera tilts to follow the ship.

Camera Angle:     The camera seems to be placed on a bluff

looking down at GATTACA.     This location was seen earlier in

the film.
Lens Used:     It's difficult to know what type of lens is used.

The shot is mostly dark with few details.     And there's no way

to tell how close the camera is to the buildings.

Depth Of Field:     Depth of field is also difficult to

determine.     Everything is very dark.

Lighting:    The only light sources are GATTACA's interior

lights, a couple of streetlights and the ship's exhaust.

Color Usage:     The night sky is blue.   GATTACA's lights are

mostly yellow with some red and orange.

Screen Graphics/Composition:     The shot is unbalanced.   The

dark masses of the mountains and the darkened foreground

outweigh the lighter sky.     The emphasis is on horizontals.

There are four distinct bands:     the foreground, GATTACA, the

mountains, and the sky.

Editing Style:     This is another cutaway from Vincent's scene.

Vincent's cuts are now getting longer.     The climax is past and

now the resolution is being drawn out.

Time:   This is shown in real time.
Subtext:     This shot screams "escape".   The ship, a bright

point of pure white light, is streaking away from the dark,

heavy, crawling horizontals.

Shot 13:     2 seconds, 2 frames

Size:    This is a long shot of the incinerator.

Sound:     The quiet rumbling heard as the ship's engines in the

previous shot now serves to describe the fire raging inside

the incinerator.

Contrast Dominant(s):     The greatest contrast is the bright

orange fire seen through the incinerator door framed by dark

panels and curtains outside.

Camera Movement:     The camera is stationary.
Camera Angle:     The camera is eye-level with a standing viewer.

Lens Used:     The lens seems to be close to normal, maybe a

little on the telephoto side.     There isn't much drop-off in


Depth Of Field:     This is difficult to tell.   There are no

objects in the foreground, between the wheelchair and the

camera.     The wheelchair is in focus and the door two feet

behind it isn't, but it isn't clear whether the depth is

narrow or simply ends just behind the chair.

Lighting:     The lighting level is low.   Most of it comes from

the flames inside the incinerator.     There is also some light

coming from the equipment on the table.     And there is

something off-camera reflected on the left-hand wall.

Color Usage:     The apartment is mostly dull grey.   There is

some brown from the wood floor and the light on the left-hand

wall seems a little green, but most of what little color,

life, this apartment had is now gone.

Screen Graphics/Composition:     The wheelchair and incinerator

door dominate the center of the frame.     The door is

additionally framed by the outside of the incinerator,
curtains, and walls.     Steps lead up to the door.   Even the

diagonal lines of the table and window point to it.      The many

lines and polished surfaces of the wheelchair contrast with

the wide, bare planes throughout the rest of the room.

Editing Style:     This is an A roll shot.   Technically an

establishing shot, what's important here is when it's used and

what it isn't showing.     It's shown after the suicide; there is

no Eugene.    The viewer is too late.

Time:   This is shown in real time.

Subtext:     The viewer is forced to stand at a distance and

helplessly watch the end of this tragedy.

Shot 14:     2 seconds, 17 frames

Size:   This is a close-up of Eugene, focusing on his medal.
Sound:   See Shot 13.

Contrast Dominant(s):     Through the flames the medal contrasts

with his dark suit.

Camera Movement:     The camera is stationary.

Camera Angle:     The camera is eye-level with Eugene looking

down at his medal.

Lens Used:     There aren't enough details to know for sure, but

the lens is probably normal or telephoto.

Depth Of Field:     The depth is probably fairly shallow.

Eugene's body and medal are in focus, but the door isn't.       But

then it's possible the depth of field is large and extends

beyond the body.

Lighting:    Whatever other lighting is used is completely

hidden by the glaring light from the flames.

Color Usage:     Mostly oranges and yellows, some blue and red is

barely visible on the medal's ribbon.
Screen Graphics/Composition:      The medal is in the center of

the frame, framed again diagonally by the window through which

it's seen.     Leading lines from the ribbon and jacket lapel

point to it.

Editing Style:     This is a short A roll shot.

Time:     This is in real time.

Subtext:     The whole point of the medal plot-wise is that it's

silver, not gold.     Eugene is a superior being; he was never

meant to be second-best.     But in this final shot of the medal,

as with    the other shots in the film, its color is never

really seen.     In the incinerator it has a bluish tint,

reflecting the light inside.      And here it looks gold.   This is

a fantastic way to show how pointless this is.      It may be

silver, but the viewer can't even tell.
Shot 15:     3 seconds, 29 frames

Size:    This is an extreme close-up of the medal, an extension

of Shot 14.

Sound:     See Shot 13.

Character Movement, Character Proxemics, Camera Movement,

Camera Angle, Lens Used, Depth Of Field, Lighting, Color

Usage:     See Shot 14.

Screen Graphics/Composition:        The screen is now dominated by

the circular medal.

Subtext:     The additional detail now shown reminds the viewer

this is a swimming medal.     I don't think this is what an

actual Olympic swimming medal looks like.        The two figures

shown are probably meant to be a connection with previous

scenes where Vincent and his superior brother play a sort of

swimming version of chicken.        Vincent won the last two times
and never did before that.   It could be an allusion to what

his brother may be contemplating.   Or it could be just another

connection between Vincent and Eugene, that connection now

literally melting.

Vincent's scene continues for five more shots, to the end of

the film, but this point is the end of the comparison between

the    suicide and the launch.

I love two things about this film:   its subtlety and its

technical excellence.    The film is never heavy-handed.    Niccol

never bludgeons the viewer with his point.   And although I

don't agree completely with the message, that's easily set

aside to appreciate the filmmakers' technical brilliance.     The

director, D.P. and editor use element after element to support

the story.

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