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**Venerable_Wolf** · 11-02-2024, 04:48 PM

Nicholas Wolf

The Grand Budapest Hotel

Reference Photos that were in consideration:

ACT I

1.

Shot size, angle, framing: The size of this shot makes it an establishing shot to show the perceived elegance of The Grand Budapest Hotel. A high-angle shot further shows the grandeur by establishing the scene and showing the scale and magnitude of the Grand Budapest and its importance to the story.

Shot composition, direction, motion: The rule of thirds is utilized to great effect as it perfectly frames the Hotel in its entirety while allowing the surroundings to be shown, making the audience feel the power, prestige, and influence that the hotel once garnered. Since there is no movement or direction from either the camera or the building, the shot makes the Grand Budapest look immovable, and unchanging and looks as if it could survive the test of time. This makes the next scene more poignant as while the rosy atmosphere that the hotel once had in the author's mind is gone, the hotel still stands. The camera however does change from roughly 4:3 camera size to 16:9 to reflect and differentiate the modern-day scenes from the scenes of the past to show that the author may have stayed there in the past, or the scene was one that he saw on an old travel guide or newspaper.

Lenses and other camera settings: The lens of the camera in this scene is likely shot at 60 mm as the exterior is only a minute and not real, which makes it easier to get up close and personal, especially considering there does not seem to be any issues that would come from having an extremely intensive focal length. The f-stop of the scene would be a 5 as the hotel is the primary focus of the scene and the forest in the background is not as important. The camera going from a 35mm to a 60mm focal length showed the prestige that the hotel enjoyed overlooking the town before then focusing on the hotel to introduce it as it will be a place where many events would take place and that the writer would go to seek inspiration.

mise en scène (set, lighting, costume, makeup, etc.): The whole sequence of the scene from the colors to the 4:3 paints an idyllic romanticization of the hotel much akin to a polaroid, a moment in time. This is interrupted and challenged as the next scene changes to 16:9 and the colors are severely muted and we are pulled back to reality to show a much different hotel that looks like a shell of its former self.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement) : The hotel being framed with the forest and being similar in hues and tones could come across as if the hotel was one with nature and was as natural as could be. This is then contrasted with the next shot which puts a lush forest of reds, oranges, and greens in contrast with a dilapidated brown blob that seems like an eyesore compared to the previous shot.

ACT II

2.

Shot size, angle, framing: This shot is done with a medium-full shot at a high angle to emphasize Gustave’s low power position that even though he might be at his lowest point, he expects nothing but the best of his workers while he is imprisoned. The framing being a crowd shot of both the inmates and the guards could either point to Gustave having a good reputation to the point where he could have their full attention while speaking. Or that because of his charisma and presence, whenever he speaks, everyone listens to what he has to say regardless of his attire and appearance.

Shot composition, direction, motion: The shot composition puts Gustave in the center of the scene putting importance on him, in addition to the fact that he’s flanked on both sides by both prisoners and guards. This makes him and his words important both to the scene and to the hotel staff to whom Zero is relaying his words. The direction of Gustave, being suave and collected, makes him seem dignified and in control of the situation despite his circumstances.

Lenses and other camera settings: The lens of the camera in this scene is likely at 40 mm to show Gustave in his glory while also showcasing the prisoners and guards in the background to show the respect and dignity that Gustave showcases, even while incarcerated in prison. The f-stop is likely at a 3 as the camera shows a lot of the room that Gustave is making his supposed speech from but past him, the prisoners and guards are made blurry as they are not important to the scene overall and only serve to boost Gustave's presence.

mise en scène (set, lighting, costume, makeup, etc.): The prisoner and guard costumes both show a dulled blue for both the prisoners and the guard’s uniforms to indicate the low security of the prison in general and that if an escape attempt was made would likely be unexpected. The lighting of the scene is fairly well-lit, making it clear that Gustave is in good spirits despite his situation and expects his employees to show the same attitude in his absence.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The sharp lines and corners made in the scene by the architecture make the scene seem even more rigid and confined than it initially appears to be at first glance. This is not helped by the fact that the scene is filled to the brim with prisoners and guards which makes the scene further claustrophobic.

3.

Shot size, angle, framing: This close-up shot of Agatha done at a high angle shows how much love and affection Zero has for her and how all of his attention is on her exclusively and nothing else. This is shown through the director making the shot a single clean shot to show Zero's infatuation with her and that she is his world. This is proven when he tells Gustave, a man that he had effectively become brothers with to not try and seduce Agatha as he is known to do with many women.

Shot composition, direction, motion: The shot composition puts Agatha front and center in the shot, making it clear that she alone is the only thing on his mind, making it clear that Zero is truly in love with her. The direction of the scene is spinning, making Agatha’s stillness in the scene more eye-catching, along with the motion of the camera staying still to help further convey this message to the viewer.

Lenses and other camera settings: The lens of the camera in this scene is likely at 55mm as Agatha’s face is fairly flat and her face is the only unblurry part of the scene making the f-stop likely at a relative 1 or 2 considering that even her clothing is blurry. This all helps illustrate Zero dead set attention on Agata to the point where the world fades out and it is only him and her in that moment and nothing more.

Mise en scène (set, lighting, costume, makeup, etc.): The way the lighting lights Agtha’s face makes it look like Zero’s in a trace with how the lights circle her and play off of her face in a way that likely indicates how in love with her he is that simply being in her company looking at her, he is content.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The circular shape formed from the two light circles that circle Agatha in alternate rotations draws focus to Agatha’s face and almost could be compared to the lighting that is shown when you win a grand prize at an arcade, further emphasizing how lucky a man Zero was for dating such a woman.

4.

Shot size, angle, framing: The shot size is done with a medium shot at a high angle to show that Gustave has fully pulled one over and bested Henckels and his guardsmen and that while this scene is completely serious in context, the way it is shot through the directors touch also makes it comedic. The framing being a crowd shot also helps lend to this both serious and comedic lens as there's no way a superior officer would go into an escape hole himself to investigate when he had over 10 other perfectly capable men to send in that is shown in the shot.

Shot composition, direction, motion: Henckel and his men are composed in the entire shot alluding that they are everywhere and anywhere and that while Gustave may have escaped from prison. In Henckel's mind, it is only a matter of time before they are spotted and subsequently recaptured. The direction of the characters shows Henckel emerging from the escaped prisoner's hole showing that Henkels is more than willing to get his hands dirty to accomplish his goals and that his men look up to him despite having to look down at him. The camera also moves with Henckel to show that he is the focus of the scene and that he is in control of the situation.

Lenses and other camera settings: The lens of the camera in this scene is likely shot at 40mm due to how open the room is and not warped in any way. The f-stop would likely be at around a 6 due to how most of the soldiers are not blurry, indicating that Henckel is going to need every man on deck to be able to recapture Gustave and bring him to justice and that no soldier is useless.

mise en scène (set, lighting, costume, makeup, etc.): The warm lighting of the scene comes across as uncanny in a way as this almost friendly lighting choice is contrasted by the fact that several guards died in the breakout and two prisoners also died, putting the reputation of the prison in the gutter making the tone bleak while the scene says fun loving.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The sharp lines of the prison are broken up by the irregular shape made by the prisoners in their escape which breaks up the scene and creates contrast with the perfect geometric shapes of the bed frames, the concrete walls, and the wood panels being interrupted by a hole representing human perseverance and the will to break free from conformity.

5.

Shot size, angle, framing: The shot size is a wide shot at a low angle to show that Zero and Gustave, in spite of their situation, are still on the up and up. The two-shot framing also establishes that the two men are alone and isolated in their journey to solve their predicament.

Shot composition, direction, motion: The shot composition shows Zero and Gustave in the center of the frame showing their importance, while also highlighting their loneliness and the journey that they’ll need to accomplish to prove Gustave’s innocence. The camera zooms from an establishing shot to a wide shot to establish a new scene with new scenery, and to highlight the desolate nature of the mountains with nobody else there besides the two gentlemen. The two men do not move and blend in with their surroundings color-wise, with only their silhouette showing their identities. The lack of motion despite the situation makes the viewer think that they are stuck or waiting on someone to escort them.

Lenses and other camera settings: The lens of the camera in this scene is likely at 60mm as this set piece is also a miniature which allowed for better control over the camera and allowed the cameramen to get a good side shot without compromising safety. The F-stop of the scene is likely an 8 as they zoom in to establish the scene rather than using a pull-in movement and still, there is a focus put on the two silhouettes to help sell the illusion that those are real people and not puppets.

mise en scène (set, lighting, costume, makeup, etc.): The lighting helps contrast with the set piece making a sharp contrast of black and white in the scene to represent the moral grey are that the two characters are working in as both of them stole a priceless painting from a dead woman and Gustave escaped from prison making both of them not the most morally good characters, but good ones nonetheless as both come across as real people and not actors.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): While there were no framing devices used, the scene helps ground the viewer while there are a lot of zany wacky moments in the film. The director made sure to balance both the serious moments and the comedic moments to better create a realistic depiction of reality despite the creative liberties taken in the process.

ACT III

6.

Shot size, angle, framing: The shot framing the soldier is a medium shot at a high angle to show the soldier while appearing menacing, is quite easy to deal with as just one cake is enough to bribe him into letting both Agatha and later Gustave and Zero into the Hotel no questions asked. This contrasts greatly with the other soldiers that appear in the later part of the movie who are not so kind or loose with the rules. The framing being a single clean shot of the soldier also helps focus the viewer's gaze as his face is the only visible one in the shot.

Shot composition, direction, motion: The shot composition frames the German soldier in the center making him seem important and powerful, which is contrasted with the crumbs and icing on his face from the previous bribe, showing him to be corruptible and to set up a comedic moment in an otherwise tense third act. The soldier looks down at the mini-cake and looks back at Gustave and Zero before we cut to the men making their way down the lobby as if the conclusion was obvious. The camera motion is still to show the German soldier's reaction to a second bribe and to allow the audience to take in his body language.

Lenses and other camera settings: The lens of the camera in this scene is likely shot at 45mm because of how open the space is allowing the viewer’s eye to be able to wander the scene freely, but due to the f-stop being at around a 7, the viewers eye is drawn to looking at the soldier and his frosting covered face.

mise en scène (set, lighting, costume, makeup, etc.): The overly warm lighting and the pitch black uniform contrast greatly as I’m 99% sure that these grim men are meant to represent the Waffen SS, who are people who you really would often be depicted as being a bunch of cake loving people who are easily bribed by mini-cakes. This creates a sense of contrast between the people who know, versus those who do not know about history by never elaborating on who these men are and what they are doing there. But it is good to depict them in an unserious manner as Jojo Rabbit did to the point of becoming caricatures of their real-life depictions. This is why it comes as a shock when in the latter part of the movie the soldiers show up and completely start acting in the character of the people who they were based upon.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There is no real movement in the scene as this is a quick gag for the audience to chuckle at as it is always funny the second time a gag is repeated, especially when it is done tastefully.

7.

Shot size, angle, framing: The shot size is a wide shot done at a high angle to make the audience think that the scenario like last time is going to be solved easily as Zero and company are looking down at the German army making them seem weak and powerless like the Hungarian army that came before. This is why it comes as a shock that not only does the situation not end like last time, but Gustave is killed offscreen by the Germans like it is not a big deal. The framing of the scene is an over-the-shoulder shot to parallel the group's previous encounter with the Hungarian army except now from over Zero’s shoulder instead of over Gustave’s. As in the first encounter, Gustave was the key to solving the situation with the Hungarian army, however in this situation, Zero is shown which implies that he is going to solve the problem like Gustave did, which takes on a new meaning when the real reason is revealed to be because he was the only person to survive to the modern day to tell the tale. Gustave was shot and killed outside the train after this scene, and Agatha died with his children from a disease later on.

Shot composition, direction, motion: The shot composition fills up nicely when the train is stopped and the center of the shot is filled not with Hungarian troops this time around, but with German troops who do not look friendly in the slightest. The audience is left thinking that this will be just like last time but the fact that it is Zero who leans over to look out the window instead of Gustave shows that this scene will be completely different, both shown tonally and colorwise. The camera moves with the train helping to establish the German troops and moving the focus from the characters to the German army’s superior numbers and menacing uniforms.

Lenses and other camera settings: The lens of the camera in this scene is likely done at 50mm to show how enclosed the scene is and how there is no escaping what is about to happen to these people in the train car. The F-stop being a 3 also helps blur the faces of the soldiers making them look more eerie and menacing as they stand opposing Zero who is the focus of the scene and of the final act.

mise en scène (set, lighting, costume, makeup, etc.): The color palette completely disappears in favor of black and white not only conveying to the audience the seriousness of the situation but also showing that of all the romanticized bits of the story, this is the only part of the story that Zero did not exaggerate as it was likely a hard moment to have to retell to another human being.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): The Window frame acts as a frame within a frame, bringing further focus onto the German army and how they do not look to be in the mood for chatting in the slightest. The window also serves to act as a barrier which both times this has happened is proven to be useless as by the time they have spotted the soldiers in the field, they have already appeared at their door ready to question them.

**Nathan Garcia** · 11-02-2024, 08:54 PM

Nathan Garcia

Shot 1:

Size: Establishing Shot - The characters feel too small to feel like it is establishing their place in the world, instead, especially with the massive landscape. This is showing that the setting of the motel is very secluded from the rest of the world, and to help show how beautiful it is

Angle: Eye Level - Wes wants us to be able to feel, in spite the grandeur of the mountains, as though it is welcoming and peaceful, to help establish that it is secluded, away from the problems of the outside world in a way.

Framing: Double - I see this as a double shot because of duality of manmade and nature, with not only the structure and the mountains themselves being a reason, but the people and the deer structure serving as the embodiment of man and nature, showing again that although we like to distance ourselves from nature, we will always have a connection to it

Comp: It is warm, though colorful with its usage of pink and orange as the main color choice of this shot, the usage of these colors are meant to convey familiarity and peace, which allows the viewer to feel more safe, as though the place they are entering is one that is welcoming, with many differing shapes to show and makes us connect with it as most of the screen space is open, with the shapes being variations of rectangles, with rounded shapes in the background.

Direction: There is a manmade structure on the right side of the screen, while the rest of the screen is nature, outside of the deer structure, alongside two people close to the manmade structure itself. This is meant to show and convey that us humans, even in nature, will surround ourselves with our own creations, but even when we do that, we cannot truly escape nature, and that we always will have a connection to it.

Motion: The Camera is still during this shot, as Wes wanted us to feel stability and calmness throughout this scene, and allow us to feel more open and connected to this place.

Camera: The camera is likely a shorter 30mm lens, as the background and foreground seem to collapse into each other, The shutter speed is likely 1/15s as the image is bright, and the f number is likely 5.6, all of this is meant to create an image that is bright and nothing is standing out, showing that it is meant to be considered a place where people can feel more connected to everything and that everything is bright and nice.

Shot 2:

Size: Medium - He wants us to feel more connected with these characters, as if we were also sitting with them, he also wants us to see the relations with these 2 characters alongside being able to see their reactions in the interaction they have with one another and giving us a glimpse as to the rest of the set itself.

Angle: Eye Level - Wes wants this interaction to feel like 2 equals and that no one feels threatened nor that they are in complete control of this situation, allowing us to feel more connected and empathize with these characters more.

Framing: Double Shot - We can see 2 characters in this shot, as the director wanted us to feel that these two characters were connected to each other, and that there were no real barriers at this moment.

Comp: There are warm throughout this shot, with vibrant lighting, though much of the colors are varying shades of yellow and white, with the notable expectation of Mustafa who is wearing his purple suit. This is meant to show that while much has changed throughout the years, the owner himself has remained in the past.

Direction: Mustafa is on the left of the screen, showing that he is already at peace with himself, whilst the other character is on the right of the screen, showing that his journey is not finished and is seeking answers, mainly through asking Mustafa how he got to the status that he has.

Motion: The camera is still during this scene, mainly just taking cuts when dialogue is happening at a few times, this is because no tension is happening, and wes wants to show stability in this particular scene

Camera: The lens is likely a slightly longer lens at around 80mm, with a shutter speed of 1/48s and a f number of f/11, this is because there is a slight detachment of the characters from the background of the scene, and there is a slight DoF happening as well. This is meant for us to focus more on the interactions between the two characters and them starting Mustafa’s story.

Shot 3:

Size: Medium - The focus is on the interaction between these two characters, and seeing the difference in body language as well as the mental state of each character on the left is more tense and worried, while on the right he is more calm and collected.

Angle: Low/Eye Level - The character on the right is more at a lower angle, showing that he feels in control and in power, while the character on the left is more eye level, perhaps even ever so slightly high, this is showing that she is clearly not in complete control, but attempting to get in control of the situation.

Framing: Double Shot - He chose this shot because of him wanting to show the dynamics between these 2 characters, and how Gustave is, although concerned for his wife, is brushing off her worries.

Comp: The scene is moderately bright, with light colors throughout, with the exception of Gustave himself, most of the colors are varying shades of pink and yellow, showing that this is a peaceful and even loving place, though with caution evident throughout.

Direction: Gustave is on the right of the screen, while his wife is on the left of the screen, with a rose in the center that is facing in the direction of the wife. The wife is on the left to show that she is nearing the end of her life, but seems to be trying to escape whatever it is, with Gustave on the right of the screen showing his life is going to become more difficult, though he does not know it yet. The flower is meant more than just a symbolism of love between the two, but also hints at a foreshadowing that she will die, as in many movies, for those that die, flowers are usually offered to pay respects

Motion: The camera is still during this shot as the interaction between these two are stable and not too conflictive to make the camera move around.

Camera: The lens is a standard 50mm lens, with a shutter of 1/48s and a fstop of f/11. All of this is meant to make these characters stand out slightly from the background, and to guide the audiences eyes to the characters interaction with one another. But also show that they aren't standing out too much from the scene

Other: There is a noticeable shape within frame, with the door acting as some sort of barrier, the doors are open to symbolize they are open with each other, but also there is a barrier between them, as the open doors act as gates.

Shot 4:

Size: Medium-Full - Although there are 2 characters in this scene where we can see more than just below the hips, the focus is on the wife and Gustave. We are meant to see the tenseness in the wife as she is being escorted to her carriage, where she already knows she will likely die, while Gustave is more calm, but clearly on edge from the wife being paranoid.

Angle: Eye Level/Low - It is low for the 2 characters on the left as they are clearly calm and in control of their situation, while for Gustave and the wife, they are eye level. It is eye level because the wife is clearly not in control and is paranoid, which would make it a high level, but Gustave is trying to be a anchor for her, but because of the wife's attitude at this moment, this is causing him to lose some of the control he has, making it more eye level.

Framing: Crowd Shot - This is meant to convey the closeness of them, not just literally, but for most of them, having some sort of emotional connection of Gustave.

Comp: This is a very bright scene, as well as a red and purple set, with the wife adorning red colors. And Gustave and his staff are wearing purple. The red for the wife is meant to convey that it is the last place she will ever feel safe, and that she is a part of Gustave and his vision, while for Gustave and his staff, it shows that they are disconnected from the issues that plague his wife.

Direction: Gustave and his wife are on the right of the screen, while the staff are on the left of the screen, this shows that both Gustave and his wife are about to enter an extremely troubling time.

Motion: The camera is following the motion of the elevator, making it appear that the camera is still. This adds a small layer of meaning as they are descending into the conflict, though to them it appears all is normal.

Camera: The lens is short at around 30mm, with a shutter of 1/60s, and fstop of 5.6, this is showing that all of them are feeling similar to one another, though for differing reasons.

Other: There are a lot of square shapes in this shot, showing that the elevator feels like a prison to all of them.

Shot 5:

Size: Medium-Full - We are meant to see Gustave and how his role as a prisoner is affecting him emotionally and mentally, and how he is trying to get by with passing the time.

Angle: Eye Level - Gustave is not in control of everything, though he clearly is making a few choices of his own free will.

Framing: Clean Single - Gustave is the only character of importance, as he is the newest prisoner, and seeing how he is adapting to his new life as one is all that is important to the scene

Comp The scene is well lit, with muted colors of tan and greyish-blue. This is meant to show the dullness and the age of the prison, which becomes very important to the story for when they begin to break out of there, but also meant to help make these prisoners feel unimportant and that there is no life for them.:

Direction: Gustave is in the center of the frame, and his body is turned left, showing that he is in the middle of everything, not in conflict, but not at peace either, but is going to soon enter a part of his life where he will soon find peace and stability.

Motion: The camera is still in this shot, with Gustave moving himself, this is meant to help show that Gustave is not the most important thing there, but is himself more of an underling than he was a powerful person earlier on in the movie.

Camera: The lens is 50mm, shutter is roughly 1/125s, and the fstop is 5.6 this is meant to show that Gustave is not really standing out from the prison, but is not just someone you do not notice.

Other: There is clear shape within frame, with the walls directly in front of him blocking everything else out besides him, but this is also meant to make him feel trapped within the prison itself.

Shot 6:

Size: Master - We are meant to see how the place itself has transformed, but also the people that are inhabiting the hotel itself.

Angle: High - Gustave and Mustafa are not in control of anything at this point, though they are doing everything in their power to try and regain control of everything.

Framing: Crowd - Wes wants to show us the difference in how the hotel is being utilized now, where it once housed those seeking luxury, it now serves as a resting place for the invading forces, and how they are treating the hotel.

Comp: The scene is well lit, with 2 contrasting colors of black and pink, the pink which serves as a peaceful and welcoming color, even loving, being overshadowed and taken over by tyranny and oppression that is black, but still they both work together in some weird way.

Direction: There are characters all over the screen, near the bottom. With Mustafa and Gustave both in the middle but more on the right of the screen, showing they are entering conflict, but nearing a point where they can still go back to the stability and control they once had

Motion: The Camera is still in this shot, as we are meant to take in the scene and see how a once beautiful hotel was forced to becoming a resting place for oppressive invaders

Camera: The lens is roughly 90mm, with a shutter of around 1/48 and f-stop of f/11, this is to allow us to focus more on the characters and the hotel itself, while the soldiers seem to be more blurred out. Showing that they are not unique from one another.

Shot 7:

Size: Medium-Close - The importance is on the emotional state between all of these characters, and how this moment is truly grand and amazing for them.

Angle: Eye Level - Wes wants us to feel as though we are part of this wedding, as if we are a spectator watching from a different viewpoint to the rest of the characters, and shows that they all feel in control, and stable

Framing: Crowd - This shows that this is a moment that many people are attending, adding to the significance of this event in Mustafa’s life.

Comp: The scene is warmly lit, with many contrasting colors, but the background a dominate shade of pink and dark grey and white, this is showing that while the world remains the same, what is happening with the characters is defining and unique.

Direction: The most important characters in the shot are in the right side of the screen, while the background characters are on the left side of the screen. This shows that they are at the end of their uncertainty in life, and about to start a new one, though brief.

Motion: The camera is still because of the importance of this shot, that everything else must stand still while the marriage is happening.

Camera: The lens is likely a longer 120mm, with a shutter of 1/48s, and a f-stop of f/5.6, this helps make the characters stand out from the background, but not make the background blurry, showing that, though the marriage is important, the world around them is not stopping for them.

**dogma2026** · 11-04-2024, 05:02 PM

Roger Gonzales Jr

The image depicts a person hanging off of a cliff in the snow, with their face and upper body visible in the foreground. The shot is a medium close-up, framing the subject from the waist up, creating an intimate and personal perspective. The low angle of the camera, looking up at the subject, imbues the frame with a sense of vulnerability and struggle.

The composition of the shot places the subject centrally within the frame, with the vast expanse of the snowy landscape extending behind them. This creates a sense of isolation and the feeling of being overwhelmed by the harsh environment. The direction of the subject's gaze, fixed downward, further reinforces this sense of being weighed down by the demands of the situation.

The use of a wide-angle lens distorts the perspective, accentuating the vastness of the surroundings and the small, fragile presence of the subject within it. The muted, monochromatic color palette, with shades of white, gray, and black, evokes a sense of bleakness and harshness, mirroring the challenging conditions the subject is facing.

The mise-en-scène, with the subject's dark clothing and headwear, blends into the snowy backdrop, further emphasizing the idea of being consumed or engulfed by the environment. The absence of any other visible figures or elements in the frame heightens the sense of isolation and the protagonist's solitary struggle against the elements.

Through these directorial choices, the image conveys a powerful narrative of human resilience and determination in the face of overwhelming adversity. The low angle, intimate framing, and the subject's vulnerable body language suggest a sense of exhaustion and the immense effort required to persevere in such a harsh and unforgiving landscape. The expansive, monochromatic setting serves to underscore the magnitude of the challenge, while the central placement of the subject indicates their unwavering resolve to overcome the obstacles before them.

The image presents a striking visual composition, depicting two men seated at a table in a grand, ornate interior space. The shot is framed as a medium two-shot, with the two figures positioned centrally within the frame and occupying a significant portion of the overall image.

The choice of this medium two-shot framing allows the viewer to focus on the interaction and dynamic between the two characters, while also providing sufficient context and environmental details to establish the setting. The symmetrical, balanced composition, with the two men facing each other across the table, creates a sense of formality and importance to their encounter.

The high angle of the camera, looking down slightly on the characters, lends an air of authority and power to the scene. This perspective evokes a sense of the viewer as an impartial observer, privy to a private, high-stakes exchange between these two individuals.

The mise-en-scène is highly detailed and intentional, contributing significantly to the overall meaning and tone of the image. The lavish, ornate interior, with its ornate architectural details, heavy draperies, and elaborate lighting fixtures, suggests a setting of wealth, influence, and grandeur. The characters' formal attire, with their dark suits and serious expressions, further reinforces the sense of a high-level, serious discussion taking place.

The striking mural in the background, depicting a majestic mountain landscape, serves as a dominant visual element that frames and contextualizes the interaction. This landscape painting, with its dramatic, almost ominous atmosphere, adds a sense of scale, gravitas, and potential for conflict or challenge to the scene.

Together, these visual choices work to create a powerful, almost cinematic tableau that invites the viewer to speculate on the nature of the exchange between the two men. The formal, serious tone, the high-stakes setting, and the suggestion of a larger context or impending threat all contribute to a sense of tension and anticipation, leaving the viewer to ponder the deeper implications and significance of this particular moment.

Through its carefully crafted composition, mise-en-scène, and framing, the image transcends the mere depiction of a static scene, instead prompting the viewer to engage with the narrative, emotional, and thematic undercurrents that lie beneath the surface of the frame.

The image presents a striking and unsettling depiction of individuals confined behind bars, conveying a profound sense of imprisonment, isolation, and despair. The framing of the shot is crucial in establishing this powerfully emotive narrative.

The tight, close-up framing, which isolates the faces of the individuals within the bars, creates an intimate and claustrophobic perspective. This shot size and angle effectively draw the viewer's attention to the plight and emotional states of the characters, generating a sense of empathy and unease.

The central positioning of the figures, trapped within the rigid, geometric pattern of the bars, further emphasizes their captivity and lack of freedom. The symmetry and repetition of the bars create a visually striking and oppressive composition, which serves to underscore the characters' physical and psychological confinement.

The stark, dimly lit setting, with the crumbling, weathered walls, evokes a sense of neglect and decay, further compounding the bleak and hopeless atmosphere. The muted, shadowy lighting casts the faces of the characters in a chiaroscuro effect, adding to the somber, foreboding tone of the scene.

The costuming and physical expressions of the individuals also contribute to the overall meaning. Their disheveled, tattered clothing and pained expressions convey a sense of desolation and dehumanization, heightening the viewer's emotional response to their plight.

Through this carefully crafted visual language, the image invokes powerful social and political themes. The depiction of human beings confined and marginalized within a harsh, unforgiving system serves as a potent metaphor for the broader issues of justice, oppression, and the human condition. The viewer is compelled to confront the suffering and vulnerability of the characters, prompting deeper contemplation on the broader societal implications.

The director's choices in framing, composition, and mise-en-scène work in concert to immerse the viewer in the emotional and symbolic resonance of the scene, transcending the mere documentation of a physical environment. The resulting image is a searing and unforgettable visual statement that prompts critical reflection on the complex realities of human experience.

The image presents a striking and dynamic portrayal of two individuals negotiating a harsh, wintry environment. The visual framing and composition work in tandem to convey a powerful narrative of struggle and determination.

The shot is framed as a medium two-shot, capturing the upper bodies of the two characters in close proximity. This tight, intimate framing allows the viewer to focus on the expressions and physical movements of the figures, fostering a sense of immersion and empathy.

The low camera angle, looking up at the characters, imbues the scene with a sense of urgency and challenge. This perspective heightens the sense of the individuals' struggle against the elements, as the viewer metaphorically shares in their upward ascent through the blinding snow and wind.

The composition of the frame is carefully balanced, with the two figures positioned asymmetrically, suggesting a dynamic, collaborative effort to overcome the adversity they face. The sweeping, diagonal lines of the blowing snow create a sense of movement and disorientation, further emphasizing the arduous nature of their journey.

The mise-en-scène, with the characters bundled in thick, hooded garments, underscores the severity of the conditions they are navigating. The muted, monochromatic color palette, dominated by shades of white and gray, evokes a sense of the harsh, unforgiving environment that envelops them.

Through these deliberate visual choices, the director crafts a compelling narrative of human resilience and camaraderie. The intimate framing and low camera angle foster an emotional connection with the characters, allowing the viewer to empathize with their plight and admire their determination in the face of overwhelming challenges.

The dynamic, kinetic composition, coupled with the oppressive, elemental forces depicted, create a palpable sense of struggle and urgency. The viewer is compelled to contemplate the broader themes of perseverance, teamwork, and the human capacity to overcome adversity, even in the most unforgiving of circumstances.

Ultimately, the image transcends the mere documentation of a physical scene, instead evoking a deeper, more universal exploration of the human experience – one marked by the capacity to endure, adapt, and prevail in the face of daunting obstacles.

The image presents a visually striking and thematically charged depiction of two individuals in an opulent, elegant setting. The director's choice of shot size, framing, and compositional elements work in concert to imbue the scene with a sense of tension, power dynamics, and underlying social commentary.

The shot is framed as a medium two-shot, capturing the upper bodies of the two characters in close proximity. This intimate scale allows the viewer to focus on the interplay between the two figures, their expressions, and the dynamic between them.

The positioning of the characters within the frame is noteworthy. The young man, adorned in the "Lobby Boy" cap, is placed slightly lower in the frame, creating a subtle sense of subordination and power imbalance. In contrast, the woman, with her regal, ornate attire and poise, occupies a more dominant, central position, suggesting a hierarchical relationship.

The symmetry and symmetrical framing of the characters, with the woman's gaze directed slightly away from the man, further emphasizes the emotional and social distance between them. This subtle compositional choice generates a sense of disconnect and formality, hinting at the complexities and tensions that may underlie their interaction.

The mise-en-scène is equally evocative, contributing to the overall meaning and subtext of the image. The opulent, ornate setting, with its grand chandeliers, ornate woodwork, and elegant furnishings, evokes a sense of wealth, privilege, and exclusivity. This lavish backdrop serves to accentuate the social and class distinctions between the two characters, inviting the viewer to ponder the broader societal implications of such hierarchical structures.

The contrast between the young man's utilitarian uniform and the woman's high-fashion attire further reinforces the power dynamics at play. Their respective costumes and positioning within the frame suggest a dynamic of service and servitude, providing visual cues that allude to the broader social and institutional frameworks that shape their relationship.

Through these carefully crafted visual elements, the director creates a tableau that transcends the mere documentation of a scene. The image prompts the viewer to engage with deeper thematic explorations of class, power, and the complex social structures that govern human interactions, particularly within the context of elite, privileged spaces.

The tension and emotional distance palpable in the frame invite the viewer to contemplate the broader societal implications of such power imbalances, and to consider the ways in which individuals navigate and negotiate the challenges posed by these hierarchical systems.

The image presents a meticulously composed group portrait, depicting a gathering of individuals in a formal, institutional setting. The director's choice of framing, composition, and mise-en-scène work together to convey a sense of hierarchy, uniformity, and the subtle tensions that underlie the scene.

The tight, medium shot framing of the group allows the viewer to focus on the facial expressions, body language, and interactions of the characters. This scale creates a sense of intimacy, drawing the audience into the dynamics of the group.

The symmetrical, balanced composition, with the characters arranged in a linear formation, suggests an institutional or organizational structure. The uniform attire of the individuals, with their matching purple uniforms, further reinforces this notion of order and conformity.

The setting, with its stark, utilitarian decor and clinical lighting, evokes a sense of bureaucracy and formality. The plain walls and sparse furnishings create a sense of austerity, hinting at the rigidity and impersonality that may characterize the environment.

The positioning of the characters within the frame is also significant. The central figure, likely a person of authority, is placed at the focal point of the composition, with the others arrayed around him. This hierarchical arrangement implies a power dynamic, with the central figure occupying a position of dominance and control.

Interestingly, the body language and facial expressions of the individuals vary, suggesting a range of emotional responses and potential tensions within the group. While some appear engaged and attentive, others exhibit more guarded, detached expressions, hinting at underlying unease or discomfort.

Through these carefully crafted visual elements, the director creates a tableau that transcends the mere documentation of a group portrait. The image prompts the viewer to consider the broader social, organizational, and institutional structures that shape the relationships and dynamics between the characters.

The sense of uniformity and hierarchy evokes a feeling of oppression and conformity, while the subtle variations in expression and body language suggest the presence of individual agency and the potential for disruption or dissent. This interplay of order and chaos, conformity and individuality, invites the viewer to ponder the complexities of power, authority, and the human experience within institutional settings.

Ultimately, the director's choices in framing, composition, and mise-en-scène work together to craft a visually compelling and thematically rich image that invites the viewer to engage with the deeper societal and psychological undercurrents that shape the lives of the characters depicted.

The image presents a striking and visually captivating depiction of an industrial structure nestled within a rugged, natural landscape. The director's choice of framing, composition, and mise-en-scène work in tandem to create a visual metaphor that transcends the mere documentation of a physical environment.

The framing of the shot is significant, with the viewer's gaze drawn to the geometric, angular forms of the structure against the backdrop of the imposing, rocky cliff face. This juxtaposition of the man-made and the natural, the angular and the organic, establishes a visual tension that invites the viewer to ponder the relationship between the two.

The composition of the frame is meticulously balanced, with the structure's bold, vibrant hues of orange and yellow creating a striking contrast against the muted, earthy tones of the surrounding landscape. This deliberate use of color and contrast serves to highlight the structure's striking, almost alien presence within the natural environment.

The placement of the structure, nestled within a recessed area of the cliff face, further enhances the sense of tension and interplay between the built form and the natural world. This strategic positioning suggests a sense of encroachment, as if the structure is gradually carving out its own space within the otherwise untamed landscape.

The mise-en-scène, with the rugged, weathered cliff face and the presence of the railway track leading towards the structure, imbues the scene with a sense of industrial, utilitarian purpose. This backdrop, coupled with the geometric, modular design of the structure, evokes a feeling of functionality and efficiency – qualities that stand in stark contrast to the untamed, elemental nature of the surrounding environment.

Through these carefully crafted visual elements, the director crafts a powerful metaphor that invites the viewer to contemplate the complex relationship between human endeavor and the natural world. The structure, with its bold, angular forms and vibrant colors, represents the intrusion of industrialization and the human desire to shape and control the environment.

Yet, the juxtaposition of this man-made construct against the vast, rugged landscape suggests a fragility and impermanence to the human imprint. The viewer is compelled to consider the balance, or imbalance, between these competing forces, and to ponder the broader implications of our ongoing efforts to subjugate and transform the natural world to serve our own needs and desires.

Ultimately, the director's choices in framing, composition, and mise-en-scène work together to create a visually arresting and conceptually rich image that transcends the mere depiction of a physical space. The scene invites the viewer to engage with deeper questions surrounding the impact of human activity on the environment, the tensions between progress and preservation, and the enduring power of the natural world to resist and reclaim its dominance.

Attached Files

**B.Rocha** · 11-04-2024, 06:22 PM

B. Rocha

1. This is a Medium Close Up shot for M. Gustave, two shot framing, eye level angle. The focal length is on the low side between 25-55mm and the depth of field is in deep focus as there is no blur. The screen direction plays on the X and Y axis primarily as we are meant to be framed by the room and focus on Gustave, which also is following the rule of thirds as he is in the center of the frame.The frame composition utilizes color and sizing in this shot as the pink hue adds to the dreamlike theme of the hotel but also to the romance atmosphere taking place. Sizing is utilized to keep the characters small so the entire room encloses them and we get to see all the details of their environment. The mise en scene for this scene is vast, and includes a bathing tub, hanging light, side table with lantern and soaps, towels, curtains, and rugs. All of these choices were made to emphasize a flashback scene that the audience is ‘peeking in’ on, given how small and in full view the characters are kept within their environment. This provides a visual ‘snapshot’ of the memory being described of Gustave’s escapades with several rich, older women in the past and is meant to feel like a swift slideshow of memories for the audience.

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2.This is a Medium shot size, two shot framing, low angle shot with a focal length between 25-55mm. There is no blurring as the shot is in deep focus depth of field. The screen direction plays on the X axis primarily as the audience reads the characters from left to right as they speak to one another. This shot also follows the 180 rule of keeping the camera on one side of their line of action and also keeps to the rule of thirds where their eye lines both read on the top line of the horizontal thirds. The frame composition also utilizes color and shape in this shot as the royal purple of their outfits by no means blends in with the environment, and accompanied with their sizing kept small so the train car feels larger, we are meant to understand that these two stick out in this setting and are overall not comfortable and at unease in this shot. The mise en scene for this scene includes luggage, champagne, glasses, table cloths, character outfits, wallpaper designs, and wood accents along the walls. These choices were made to help the audience gauge the inner emotions of the characters as they go through the sequence in the train car. We are meant to use the shot elements to understand that the duo is uncomfortable in this shot but are not outwardly showing their discomfort and tension about being on the train.

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3. This is a Medium-Full shot size, clean single framing, eye level angle shot with a larger focal length of 45-100mm as Dmitri is collapsed within the background. This is a depth of field in deep focus as there is no blurring.The screen direction plays primarily on the Y and X axis and the rule of thirds and frame within a frame as Dmitri is framed in the center, occupying 2/3 of the central vertical section. The screen composition utilizes color and size in this shot as the characters anger is in line with the opaque pink hue that is darkest around his frame, coloring his skin more pink as well to emphasize his anger. His black outfit and hair also make him stand out within the hotels decorum as a stark contrast. He is also kept rather large in the frame to maintain the cowboy shot but make the environment surrounding him feel less than or equal to his size. The mise en scene for this scene includes wall decals, handrails, pink walls, signage, black outfit, hand rings, and makeup. All of these choices were made to amplify Dmitri’s rage and overall personality against the dreamlike atmosphere and bright style of the hotel. We are meant to feel afraid of his anger and persona as his stark contrast against the hotel is dominating.

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4. This is a Full Shot size, clean single framing, low angle shot with a focal length on the higher side of 45-80mm as the character is slightly collapsed with the background sizes. There is a depth of field in deep focus as there is no blurring in the shot. The screen direction utilizes the rule of thirds, frame within a frame, and Z axis as Kovacs is placed further away from the camera, blending in amongst the artifacts on display and framed within the boar painting. He is also centered perfectly within the frame, with his eye line aligning on the top horizontal line on the rule of thirds. The screen composition focuses on color and size in this shot as both Kovacs and the display items present at the will reading are meant to feel detached and formal given the lack of bright colors and collapsed sizing of all the objects. The mise en scene for this scene has candle holders, a painting, a taxidermy bear, a bureau, ottoman, antler table, a gray suit and a box containing will and property statements. The choices made in this shot were chosen to display the formality and lack of closeness of the lawyer to the family and overall situation. The shot is meant to feel ‘all business’ as there are none of the bright, dreamlike colors seen in the hotel seen here. It is also a representation of the family of Madame D, the lack of vibrancy and warmth, and the tone of mourning given Madame’s death.

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5. his is a Medium Close Up shot size, two shot framing, high angle shot with a focal length of 25-55mm. The depth of field is in deep focus as there is no blurring. The screen direction utilizes the Y axis primarily as both Zero and Gutave are aligned in a cascade down from the Boy with Apple painting, placing hierarchy focus on the painting as the most important focal point. The screen composition makes use of a prop lens for zero, maintains the rule of thirds, aligning zero and Gustave on the L and R lines of the vertical grid. There is also focus on brightness and size in this shot as the majority of light is scene on the painting, and the sizing of Zero and Gustave is kept small against the painting. The mise en scene includes a train car bed, a painting, a train car sink, soaps, cologne, nighttime wear, a window, and wood wall decals. The choices in this shot were made to depict the importance and value to the painting and the attention Gustave and Zero pay to its pricelessness by keeping it off the floor and under a light to be viewed properly. The audience is also meant to share in the emotion and response of Zero to the painting, who is further hearing the importance of the painting by learning of the details whilst having it be the primary focus of one’s attention and thus also growing protective of it.

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6. This is a Medium shot size, clean single framing, high angle shot with a focal length between 25-55mm. The depth of field is in deep focus as there is no blurring. The screen direction primarily uses the X and Y axis as Joplin is kept towards the bottom third of the frame, but still in the center. The screen composition utilizes the rule of thirds, and frame within a frame but using the circle fundamental shape to encase Joplin in the frame with the lamps. There is focus on brightness and color in this shot as well as there is little brightness and Joplin is framed by a deep blue, suited to his character that is serious, brooding and dangerous. The mise en scene for this scene includes lamps, newspaper, side tables, drapes, a painting, glasses and a chair. The choices in this shot were made to provide a tangle environment that matches Joplin and his persona. We are also meant to use his framing around the four lamps to symbolize Dmitri and his three sisters who are using his employment to hunt down Gustave, Zero, and the Boy with apple painting. This implies that all of Joplins motives are fueled by his employers and that he keeps them and likely their payment on his mind constantly.

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7. This is a Master Shot size, two shot framing, high angle shot with a larger focal length of 45-95mm. The depth of field is in deep focus as there is no blurring. The screen direction primarily uses the Y axis as our eyes visually glide down from the title of the building, down to the characters below, which provides context before we get to the fueling section. The screen composition utilizes the rule of thirds and frame within a frame as the characters are placed in the lower third of the frame and are bordered by the fuel tank and wooden pillar section that places them in a square. There is focus on color and direction in this shot as we see the characters place on the left, and given the context of the show we are anticipating Joplin eventually driving away from screen L to screen R. The use of color is also important as the bright red fuel tank against the muted gray and brown environment is symbolic for Joplins murderous intent to go after Gustave and Zero. The mise en scene for this scene includes a motorcycle, fuel tanker, gas station building, and background mountains. The choices made in this shot were intentional to visually signal for the audience Joplins motives towards getting to Gustave and Zero and how the red would symbolize the death or murder of someone fairly soon. The scene setup of Joplin getting ready to take off, too, is meant to emphasize the importance of Joplin reaching his goal, using all his means to get there.

**Lgcastro** · 11-04-2024, 10:44 PM

Lourdes Castro

Shot 1: This is an establishing shot showing the hotel and the environment that surrounds it. The mountain it is sitting on and the incline you need to take in order to get up there. This shot was chosen to show the location and at this point the time of day. The angle of this shot is a low angle looking up and the huge hotel almost engraved into the mountain. The shot composition here directs the eye to the hotel but also a sort of balance of your eyes bouncing from the hotel to the surrounding mountains and background. The screen direction can be complicated with this shot it can be along the x-axis going horizontal as we look from left to right across the mountains but it could be along the y-axis going vertically looking up and down at the size and scale of the hotel within the scene. The lens used for this shot is a telephoto lens at about 135-200mm with an F-number of 5.6 to have the hotel in the main focus and the mountains in the background slightly out of focus. There is also a deep focus depth of field which allows us to fully see what is going on within the whole scene even if everything is not completely in focus. The mise en scene in this shot is really interesting when it comes to the lighting and the colors. There is a lot of unmotivated lighting, the lights in the shot don't seem to be natural light that would exist in that exterior environment, but I believe the director chose this lighting to continue with the theme and mood of the movie that is yet to come.

Shot 2: This is a wide shot focusing on the characters and where they are in relation to each other and where they are within the environment. This shot was also used to show the size difference and distance that is between the characters in the foreground and in the background. The framing of this shot can also be two different ones it can be a single dirty shot because we can really only fully see one face. It can also be argued that this is considered to be a crowd shot with multiple characters populating the scene. This shot is from a low angle looking up at the character with a sense that he has all of the power in this moment. The composition of this shot is difficult, there is a sense of balance with characters on either side of the screen which also creates the effect of directing the eye to the characters down the middle of the screen because they are slowly coming closer to the camera. The direction of this shot would be along the y-axis traveling vertically in a straight line looking up at the characters. this scene was shot with a wide lens at about 55-70mm and an F-Number of 3 because the characters in the foreground are fully in focus while the characters in the background are out of focus until walking into focus as they get closer to the camera. The mise en scene in this shot has a lot to do with the costume, color, and lighting. The costumes of the characters play a huge part in showing authority, power, and overall time period. The colors in the scene are Analogous, red, orange, and yellow all next to each other on the color wheel. They add a very warm tone to the entire shot.

Shot 3: This is a medium-full shot "Cowboy Shot", cutting off just above the head and right below the waist. This shot was chosen to show the intimacy and chemistry between the two characters. The framing is a two-shot because we can see both character's faces and emotions. So also might argue that it can also be a three-shot if we chose to include the horse as a character within the scene. The angle of this shot is from down low, looking up at the characters showing their vulnerability with each other because of the feelings they have towards each other. In this moment they feel calm and safe so the camera is showing us a sense of relief. The shot composition is balanced, and the characters seem to be coded meaning they belong there and they are also easily identifiable. The lens used was most likely a wide angle at about 40-50mm and an F-Number of about 2.6 Everything in the background including the lights was out of focus. The director chose this lens and shot to show that at that moment nothing else mattered. Everything else is getting drowned out and we are only focusing on the interaction between them. The mise en scene in this shot is fully art-directed by color and lighting. The warm tone lights of the carousel match with the cool tone lighting of the environment outside. It gives a sense that everything that is close to them is warm, cozy, and safe. While outside those warm tones are cold, lonely cool tones.

Shot 4: This is a medium-full shot, showing the characters and how they are reacting to each other within the environment. The framing of this shot is a four-shot because we can clearly see all four characters' faces and emotions. The angle in this shot is from the eye level of the two characters that are sitting down but from a low angle of the characters standing which can show a decrease in power to them standing and an increase in power to those sitting. The shot composition in this is a sense of unbalanced like a staircase effect going from tallest to shortest with the characters. It is directing my eye along the x-axis horizontally left to right looking from tallest to shortest. The lens used for this shot is most likely a wide-angle lens at about 70-80mm and an F-Number of 12.5. Everything in the foreground and in the background is within focus in this shot. The director chose to keep everything to focus so that we can get the feel of it being a small space, they are sort of all crammed into that elevator. The mise en scene in this shot is hugely color and the bright red of the wall really pops to added unmotivated lighting. The lighting used to brighten the red is not a natural elevator light. The director chose to make the lights a lot more intense to really make the elevator pop. The costume choice is also really interesting we know that three out of the four of them work within the hotel just purely based on their costume, but ut also goes to show that the old woman comes from wealth and luxury just based on her high-end clothing.

Shot 5: This is a master shot, we are being shown where the characters are in relation to each other and where they stand within the environment. In this case Zero is pretty far away from Mr. Gustave as you can see Zero's face is pretty small in the mirror. This shot also helps to confirm the location where the shot is taking place, in their room after they took the boy with the apple painting. I would say the framing of this shot is a single dirty because we can only see Zero's face and even then it's through a tiny little mirror on the wall. The angle of this shot is from eye level we can see directly at eye level of Zero. This is most likely because the director wanted to show that Zero was looking at the painting just as Mr. Gustave was but also wanted to show Zero's reaction without having to fully pan to his face. The shot composition directs the eye towards the painting on the wall and to Zero's reaction within the tiny mirror. It gives and sense of like oh crap what did we do type of moment. The lens used for this shot is most likely a wide angle at about 35-50mm and a low F-Number at about 2. Everything in the shot is pretty much in focus. The mise en scene in this shot is all within the lighting. The warm yellow/orange tones only hover over the painting sort of paint this is a prize feel. Like the painting is illuminating and they are both taking it all in, still feeling that oh crap moment at the same time.

Shot 6: This is a wide shot, showing where the character is in relation to the camera, the environment, and other characters that may be within the scene. This shot also makes a statement on the depth, distance, and size of the character compared to everything surrounding them. This is a single dirty framing, we can see one character but we can't fully see his face or emotions there are other incorporating factors making it a dirty scene. This is shot at an eye-level angle we are looking directly at the character straight on. This helps to add some tension to the scene. The shot composition of this shot is very balanced there is an equal negative space around the character all the way around. The lens most likely used for this shot is a telephoto lens at about 155mm and an F-Number of about 5.6 the background is not fully in focus but we can still understand what is going on. There is a shape within the frame that I liked about this scene, the window of the bus frames the guy on the motorcycle perfectly all the way around evenly. The mise en scene in this shot is all to do with lighting there are lots of dark cool tones that give the effect of a gloomy day or evening.

Shot 7: This is a wide shot. We can see where the character is within the environment, and it shows the size of the character compared to the rest of the scene. The framing of this shot is a crowd shot we can consider the statues to be a part of the crowd. We are looking from a higher angle down towards the statues and the character in the door frame. The shot composition is balanced there are the same amount of statues on either side and it then directs my eye along the y-axis vertically in a straight line up the screen to the character in the doorway. The lens most likely used for this shot was a telephoto lens at about 165mm and an F-Number of about 2.5 with the foreground staying in focus while the background including the character is blurry and out of focus.

**Melanie** · 11-04-2024, 10:46 PM

Melanie Alvarado

Act I

Shot #1:

( Shot Size - Wide Shot | Angle - High Angle | Framing - Crowd Shot (focus on 2))
The director chose to make this a wide shot to establish the characters in the environment. The director wanted to show the just short of grandiosity of the hotel and to show how the characters relate to it. A high angle was chosen so that the viewer can see more of the environment yet also the characters in the area. It expresses to the viewers how grand the hotel almost is by the hotel looking down at its guests. The director chose to make this a crowd shot to show how the hotel has some business, even if it is apparent that it is not a lot.
( Composition | Screen Direction | Motion )
The director chose to make the composition very balanced and even on both sides of the screen. This was chosen so that the viewer's eye will be directed to the single table not in a row, which is also lit by a spotlight to tell the viewer where the main character's of the scene are. The screen's direction moves slightly downwards during the tilt of the camera. This was chosen so that the viewer can have time to look at the grandiose room in all its glory but then focus on where the characters are and how they relate to the said room. The chosen screen direction being downward also signals to the viewer how the story is about to inevitably begin. There's barely any visible motion from the subjects on screen since the shot is to show the environment and where the characters are placed in it rather than what they do.
( Lens/FocalLength - 35mm | Aperture/F-stop/F-number - f/18 )
The Focal length was chosen to be 35mm to emphasize the size of this room in the hotel. The director wanted to show the viewer the grandiosity of the hotel and to give a good view of the surroundings that the characters are in. The director chose the f-stop f/18 to widen the depth of field so that the entire room can be surveyed and studied. This is not too high because the director wanted the audience to not focus on the characters yet, but the environment so that they know how much it changed when the story begins.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose to make the set a tall, wide dining room to symbolize the vulnerability and openness that would take place in the following scenes. The lighting appears motivated except for an unmotivated light shining down on the two important characters in the room, effectively directing the audience's eye. The costume of most of the occupants in the room blend in with its colors beige, white and orange, and are barely visible. The hotel owner, Zero, wears a bright purple suit like a beacon to the viewer to look where he his. The makeup is not visible from this distance since it is a wide shot. The main color of the modern hotel is orange, which symbolizes a metamorphosis going from the past to the present. The bright purple suit that Zero wears symbolizes his high status as the owner of the hotel.
(Other) [Relevant Movement - Tilt]
The director chose to use a tilt to introduce the setting by showing the environment then the characters at the table in the room. The tilt was also used to show the towering height and grandiosity of the room in comparison to the characters.

Act II:

Shot #2:

( Shot Size - Insert Shot | Angle - High | Framing - POV)
The director chose to make this an Insert shot so that the viewers can piece together what Jopling (DaFoe) objectives. The insert shot communicates who he's after by focusing on the picture of the butler and reminds the audience how important he is to the story. The chosen angle is high to show how in power and in control Jopling is. The Framing is Point of View as we see from Jopling's eyes, we see his objectives and what he has done.
( Composition | Screen Direction | Motion )
The director chose to build the composition with lights and darks, He chose to direct the viewers eye to the photo by centering it to the middle of the screen and by having it as the brightest thing in the room. There is no screen direction since the shot is static, which was chosen to give the viewer time peer around the desk and build an understanding of the character. The only motion visible on screen is the tapping and flexing of Jopling's hand, which shows to the viewer that he is nonchalant about hunting people down and that this is a normal everyday occurrence to him.
( Lens/FocalLength - 80mm | Aperture/F-stop/F-number - f/8 )
The director chose to make this a 80mm lens to flatten the environment and make it look like a picture. He chose this to emphasize the picture since it is crucial to the storytelling. He chose a f-stop of f/8 to make the whole desk clear, so that the viewer can choose what to investigate after the looking at the picture to build an understanding of Jopling's character and history.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose for this set to resemble a desk that belongs to Jopling, who is a assassin hired by Madame D.'s family. The director used this shot to tell the audience information about the murder plot and about Jopling. Visible clues include both the picture of the butler who was the only witness and the poison bottle which was used for the murder. The lighting is somewhat motivated and coming from the top left of the screen. The director did choose to include unmotivated lighting shining from left above the photo of the butler to direct the viewer's eye. The only costume pieces visible from Jopling are the rings he wears which symbolizes both wealth and a "bad boy" aura. The costuming of the butler on the picture is visibly proper which tells the viewer that he worked for someone of high status or wealth. There is not much makeup visible in the shot outside of the natural looks of the faces on the photos. The main color chosen for this scene was a reddish-brown tone for the wood, which shows how there is a looming danger hidden in the distance. The other noticeable color is the sickly evil green of the poison container which tells the viewer that Jopling killed the Madame.
(Other) [Relevant Movement - static]
The director chose for the camera to be static here because the goal of the shot was for the viewers to investigate and find clues in it.

Shot #3:

( Shot Size - CloseUp | Angle - low/eyelevel | Framing - clean single)
The director chose a Close-up to make the audience experience the connection Zero had with his wife, Agatha, and the grief he feels even thinking of her name. further more, the low/eye level was chosen to make the audience feel the powerlessness and weakness that Zero feels as his emotions begin to spill out, yet also understanding since grief is something we all feel at some point. The clean single gives the viewers an uninterrupted view of the pain from his wife's loss and the love he still has for her.
( Composition | Screen Direction | Motion )
The director chose to direct the viewer's eye by placing Zero front and center. He chose to do this to show the audience that the most important part of the shot is Zero's emotional state. The screen moves slightly towards the right as he speaks, which was chosen to keep him in center because no matter how much he moves, his love for Agatha and his grief are the center of attention. The director chose to have Zero move minimally to show how his grief keeps him frozen in place and in the past.
( Lens/FocalLength - 90mm| Aperture/F-stop/F-number - f/5)
The director chose a lens focal length of 90mm which was chosen to collapse some of the background on Zero to make him seem stuck since he is momentarily stuck in the past and in his grief. The lens choice was also chosen to benefit the shot by putting further emphasis on the character in his time of pain. The F-stop f/5 was chosen to make Zero and his grief clear to the viewer, but also to minimize distractions in the background by lightly blurring it out.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose for the set to be of the modern day hotel, the background isn't too visible outside of a shelf, lamps and a cart. The audience can clearly see the change that took place with the hotel itself having a different identity in a 60s style rather than the original 30s. The lighting was chosen to be unmotivated with Zero initially being shrouded in darkness and the light sweeping over to reveal his emotional state as the narrator is only noticing that he is crying. This was chosen to place the viewers in the narrator's shoes as he realizes Zero is crying. The costume chosen by the director for Zero almost perfectly mirrors Mr. Gustave's suit, which symbolizes how Zero respects him enough to keep up his hotel and follow in his steps. The makeup is not too apparent on Zero, except perhaps for the tears that run down his face marking his moment of vulnerability as he thinks about his wife. The dominant color was chosen by the director to be Brown to symbolize the natural and down to earth reaction of Zero.
(Other) [Relevant Movement - static/slight handheld]
Though barely noticeable, the director chose for there to be a slight handheld in this shot. The camera attempts to remain static, but rocks and shakes slightly to symbolize how Zero is trying to keep himself together as he thinks about Agatha along with the connotations her name means to him, both love and grief.

Shot #4:

( Shot Size - CloseUp | Angle - eye level | Framing - clean single/POV)
The director chose a Close-up to show the audience just how much Agatha means to Zero and his love for her. All he and we see is her, as she is his entire world. The angle chosen was at Eye-level, and this was to show the audience how Zero and Agatha love each other equally. The framing chosen is both a clean single and a point of view framing. We see from Zero's eyes which shows the viewer how he feels and thinks about her. Combined with the uninterrupted view of the clean single, the framing further communicates how she is the most important person to him and that she is his world.
( Composition | Screen Direction | Motion )
The Director chose to place Agatha in the center of the frame, effectively directing the viewer towards the person who matters most in Zero's life and emphasizing his love. The screen does not move in this shot, which the director chose to show that Agatha is the rock in Zero's world. The screen stays centered on her and tells the audience that she is the consistent thing that Zero plans to be in his future. The main motion on screen are the spinning lights from the carousel in the back. The director chose this specific motion to express how Zero's world revolves around his love in life. It was also chosen to express the goodness and perfection he sees in her, as it resembles the halos present in catholic artistry.
( Lens/FocalLength - 100mm | Aperture/F-stop/F-number - f/3 )
The Lens focal length of 100mm was chosen to elevate the beauty of Agatha through Zero's eyes. The director also chose this to flatten the background so that it won't matter as much to the audience. The director chose the F-stop f/3 to narrow the depth of field so that the audience will look at Agatha without distractions much in the same way that Zero is. The F-stop was also chosen to give a dreamy feel to the shot since Zero is looking onto her with love and passion.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose for the set of this scene to take place on a carousel outside to symbolize the playful, young love between Zero and Agatha. In this particular shot, the set is not fully clear but appears as a kaleidoscope of colors to resemble gems or the sunrise which shows the beauty and love Zero sees in her. The lighting is partially motivated with the yellow light from the carousel itself. But the director chose to include unmotivated pink lighting to symbolize the young love and passion they both feel for each other. The lights revolve around Agatha in a display to show how Zero's world revolves around his love, Agatha. Not much is seen in the costume in this shot, but the director chose to dress her in a beige coat to symbolize her natural beauty and purity. The makeup in this shot consists of Agatha's birthmark on her cheek, and the director chose to otherwise give her a very natural look to emphasize her natural beauty. The color in this scene was chosen by the director to symbolize the mix of good feelings Zero feels as he looks at her: yellow happiness, pink love, red passion, and a symbol of change with orange present since he is planning on marrying her.
(Other) [Relevant Movement - static]
The director chose for this camera to be static because in the eyes of Zero, Agatha is the most stable thing in his world.

Shot #5:

( Shot Size - Medium | Angle - low | Framing - crowd shot/Pov)
The Director chose a Medium shot to establish a conversation between Dimitri and Kovacs (Goldblum). This was also chosen to establish a conflict between the Madame D.'s family and her lawyer, Kovacs. The low angle was chosen because there is a power imbalance in the scene, with five against one. Kovacs is under-powered and threatened in the scene by Dimitri which is the reason for the angle choice. The Framing is a crowd shot which was chosen to further the conflict by adding scrutinizing, judging eyes on Kovacs. The shot is also seemingly a Point of View shot from the eyes of Kovacs. This was chosen to make the viewers as uncomfortable as he is with the judging eyes of a group against him.
( Composition | Screen Direction | Motion )
The director used the composition of the shot to immediately direct the eye to the desk, which communicates to the audience that the debate over Madame D.'s estate is still ongoing. The director also has Dimitri's face lit up more than the other figures in scene further directing the viewer to him. There is no movement in screen direction, which was chosen to hold the stillness of the room as Dimitri "interrogates" Kovacs. The main motion on screen is from Dimitri as he gestures during his monologue. This alone was used to draw the attention of the viewer since he is the most active in the scene.
( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/6)
The director chose the lens/focal length of 70mm to focus both on the speaker, Dimitri, and the environment so that the other figures in the room are also visible and non-distorted. This was chosen to show all the people against Kovacs. The F-stop chosen was f/6 to keep the Depth of field wide enough to see each figure's face, but to keep the background faces blurred enough for Dimitri to be the clear focus as the instigator.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose to make the set be at Kovac's house to build up his character. Here, The director carefully placed bookshelves, filing cabinets, and papers scattered on the desk to show that Kovacs is very educated yet busy. The lighting is very motivated and coming from the window. The natural lighting also builds up Kovacs character as it shows how he is calm and controlled. The director chose for the costuming in this scene carefully. Dimitri and his sisters are dressed in proper black coats to symbolize to audience that they have lost their mother and they are rich, with even one sister wearing fur and a fancy hat. Jopling stands further away in the corner dressed in glossy black leather which gives off "bad boy" energy. The color coding from the director on the "bad guy" characters is clear, with them all wearing black to signal evil to the audience.
(Other) [Relevant Movement - static]
The director chose to make this camera static to let the audience soak in the power play of Dimitri against Kovacs. The tension is present as the viewers focus on the faces and eyes pointing towards the camera.

Act III

Shot #6:

( Shot Size - medium-Full | Angle - low angle | Framing - dirty two-shot)
The director chose to make this shot a Medium-Full shot to establish a conflict and tension between Agatha and Dimitri. It expresses a mood of danger since Agatha is close to Dimitri who is strong and dangerous. With this shot, we can also see how the character's hold themselves and their emotional state. Agatha appears more still and scared, while Dimitri is more lax yet confident. The director chose a low angle to emphasize the lack of power that Agatha has in this situation. Dimitri's eye-level stands higher than Agatha's, and the audience has to look up at them to make the viewers feel powerless to help her. The framing is a dirty two-shot (third guy is cut off). The director chose this to show both the predator and the prey in this case, so that both their physical and emotional states are clear. The frame is dirty with the Lift-boy and Dimitri both keeping Agatha from a clean shot, which symbolizes how she is trapped and in danger. While on the flip-side, Dimitri is clean and covering her in the shot which shows that he has control and power in the scene.
( Composition | Screen Direction | Motion )
The director chose the Composition of the shot has both Dimitri and Agatha towards the front of the screen. He wanted the shot to seem slightly off-balance, Agatha is closer to the main screen but Dimitri is closer to the right edge. This was chosen to show a power imbalance, one that leans towards Dimitri. Dimitri and Agatha also wear clothes that greatly differ from the bright red in the back which directs the eye to them both. There is no screen direction in this shot since it is static. It was chosen to be still to emphasize the staleness and stiffness of the elevator since it is full of tension. The only motion on the screen is from Agatha where she sways and glances around uncomfortably. This was chosen to clearly communicate to the viewer how uncomfortable, threatened and under-powered she feels in the moment. Dimitri hardly, if ever, moves which demonstrates how powerful he is, like a predator about to pounce his prey.
( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/6)
The director chose for the focal length to be 70mm to encapsulate the feeling of actually being there; The scene is not too picturesque yet not to "rounded." With this choice, the director wanted the audience to feel like they are cramped in the elevator as well and trapped as much as Agatha is. The f-stop, f/6, was chosen since the cramped space does not require much depth of field, yet also keeping enough to where each detail of the room is fairly clear to the viewer. The director wanted us to be able to see Agatha and Dimitri's mental/emotional states and physicality, but also to adequately see the environment they are "sardined" inside.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director had this set be the inside of a elevator because it is confined making the audience realize how trapped Agatha is and how she is in danger. The lighting is largely motivated as it comes from the top of the elevator. The costumes were chosen by the director to contrast the elevator wall to direct the eye. The costumes also communicate how she was ready to go out in the cold while he had just come in from it with no time to remove his coat. The makeup on the actors is not too apparent aside from Agatha's birthmark. Dimitri does seem almost sickly with the dark around his eyes, which signals evil in this case. The director chose the color red for this scene which screams to the audience that danger is near as Dimitri stalks Agatha. The director was also very careful about the coat color choices, with Dimitri having a deep black coat to symbolize evil and Agatha's brighter beige coat to symbolize her goodness and vulnerability.
(Other) [Relevant Movement - static]
The director chose for the camera to be static to emphasize the thickness in the air as it is soaked of tension. The main focus in this shot are the characters emotions and how that is reflected in how they physically hold themselves, which is another reason why this was chosen as static.

Shot #7:

( Shot Size - medium | Angle - eye-level | Framing - dirty three-shot )
The director chose for this shot size to be a medium size to give the audience the expectation that the scene would just be of a casual conversation, which it was. He chose this scene to prepare to "whiplash" the audience with the following events and killing of Mr. Gustave. The chosen angle is at eye-level. The director chose this to establish the even ground between Zero and Mr. Gustave. This angle was also chosen to make the viewers level with the characters on-screen so that when the tragedy happens, we feel as under-powered as they do. The framing chosen was a dirty three-shot. The director chose this framing to show all the important people in Zero's life and to show how they are together during this event. The framing is a dirty one because of the train car's window that the camera peers through. This window acts as a "window through time" and shows the events take place, but feels at a distance since the audience is powerless to stop the tragedy from taking place.
( Composition | Screen Direction | Motion )
The director chose for the composition to seem imbalanced, with Zero and Agatha on the left and Mr. Gustave on the right. The director chose this shot composition to foreshadow that unlike Zero and Agatha, Mr. Gustave would not make it out of the train car alive. The screen direction arguably moves in the right direction, assuming the train is actually moving. This was chosen to demonstrate the "march towards an end" since the train is moving forward, but also towards Mr. Gustave's death. There is minimal movement from the characters on screen as Zero and Agatha both have respect for Mr. Gustave and watch him intently. Mr. Gustave's gestures more energetically since he is the center of attention which catches the audience's eye. The director chose this to prepare the audience for Mr. Gustave's demise.
( Lens/FocalLength - 90mm | Aperture/F-stop/F-number - f/8)
The director chose a focal length of 70mm to make the shot more "conversational" and to make the scene seem natural. The director wanted a feeling of normalcy with this scene and hence chose a focal length that looks more natural. The director chose for the f-stop to be f/8 so that the background and the foreground are clear. The director wanted the viewer to watch the characters speak to each other before introducing the character's that enter the door, which is why the depth of field is on the wide side.
( Mise en Scene: Set, Lighting, Costume, Makeup, Color )
The director chose this set to show that they are confined in the car booth calling back to the first time they were boarded by military which sets up a bad omen. The Lighting in this scene is motivated and coming from both the train car window and from the ceiling of the car. The director chose for the costumes of all the characters to be proper. Most notably, Zero is now wearing a suit similar to Mr. Gustave's which shows that he is on equal ground with him. The director also chose for Zero to have a real mustache here to further display his higher standing and maturity. As for makeup, Agatha has her birthmark on her right cheek which helps her stand out compared to other characters. The director chose for the color to be black/white, monochromatic to signal to the audience that something big is about to happen. This is one of, if not the only, time that a scene is completely devoid of color and it happens at the lowest point that we see in the movie. Another reason he chose a lack of color is to show that there is only pain and that the memory makes Zero feel dead inside as he witnessed his friend get murdered.
(Other) [Relevant Movement - Push-in]
The director chose to show the viewer that they are inside a train car from far away then to push into the conversation through the window. This was chosen to keep the glass for both positions of the push in and make the audience feel like they are outsiders peeking in on the conversation.

**Ashton koranek** · 11-04-2024, 10:47 PM

1. The shot size of the scene is a medium close up shot of the author and Zero having a conversation in the baths. the angle of the shot is eye level showing a sort of equality between the two as zero says how he is a fan of the work of the author and the framing of not this shot but the scene of them talking is done in a interesting manner with the author always being on the left side of the screen looking screen left and Zero being on the right side of the screen looking screen right. The composition of the scene is that of mutual adoration as both of them respect each other. Their isn't really any motion or direction I would say the director is trying to show here. The Mise en scene of the shot is that of a quiet bath house that is then broken up after they start talking with someone getting sprayed down with water giving the background a rushing water sound breaking the silence so they could talk. The Camera appears to be a normal sized lens with the F-stop being a lower number as the background is very much out of focus and the characters being the main part of the scene.

Act 2:

2. I would say this is a medium close up with most of gustave in frame of the shot however It could also be seen as a sort of insert show with the painting being the main part of the show and it taking up most of the shot and being the center piece. The angle of the shot is very high on gustave but what I feel is most important is the low angle on the painting giving it a sense of important with the one light shining down on it. In the framing of the shot is a 2 shot if you dont count the painting which I would say is fare to count given how important the painting is in the scene. The composition of the shot is amazing with gustave being on the lower left and having a frame within a frame on Zero with him being in the mirror giving the audience the ability to see Zero's reaction to what gustave is saying without cutting away from the painting. At the beginning of this scene it was just a insert shot of the painting with the camera then moving out showing gustave I feel this is another of the many different shot choices that were made to make sure the audience knows how important the painting is. The Mise en Scene is that of a train cart with the sounds of the train very distant in the background but is mostly focused on the painting and the characters reactions to the painting with gustave showing it off to zero and even remarking how he looks like him and after that you can see with the frame in a frame Zero look down to gustave as if he was checking the resemblance. The F-stop of the shot might be high as the painting as well as gustave is in frame and focused well

3. This is a medium shot of the inmate that gustave feeds gruel and ends up being a good guy. the angle of the shot and overall just the acting of the character and the actor himself gives a strong feeling of power like if the guy wanted to he could beat up gustave easily. The shot being basically gustave's point of view helps with the feeling and is a nice way of doing a low angle shot that feels natural as the guy is big in statue. The composition of the shot and scene is put in a way where the nice food guy gustave is trying to give food to the big bad guy. the direction and motion of the shot being still as we are in gustave's point of view till the guy walks up to him and suddenly his head is out of frame as he is much taller and the camera then tilts up to show the face of the man and giving the audience the nice low angle shot to convey his power. The Mise en scene in the shot conveys convicts in their cell and the one in his bed that is seen as very intimating with both of the other people in the jail cell just kind of looking at him instead of asking if he wanted some cruel like they are scared to ask and him walking up to the camera/gustave keeps that sense of power and in the end he ends after a quick turn to gustave goes back to the POV shot with the guy just enjoying his gruel and walking away. it seems to be a medium lens and the F-stop being low as he is the only thing in frame keeping with the idea of this being from gustaves POV with how human eyes focus on things.

4. This would be a full body shot before the door got closed on kovacs the framing of this shot is that of a door with the four fingers of kovacs that where chopped off by jopling. The composition of this shot and this scene in general is almost like watching a horror film with kovac being chased and eventually murdered. The composition of the shot right before it with the POV shot of him looking at the bike like its his great savor. The Camera doesnt have much motion or direction in this shot but the door and more the fingers dropping to the ground give a super scary feeling not to mention its right after he feels that he has escaped. The Mise en Scene of this shot and more specifically is incredible with the chase starting on a bus where jopling is quickly noticed then kovac entering a building to try and hide from him and just always being a little ahead but with jopling always on his tail. The boot stomping on jopling is a massive indicator of him coming and its really smart for the director to make note of that and have the character take off his boots to start walking silent and at least for me it gave a sense of safety not hearing his boots and to kovac as well with the whole scene coming to a head and kovac find a bike and everything is going well when in the span of half a second the rug is pulled from kovac and the camera gives us this shot of the door quickly closing on kovac him losing 4 fingers and screaming from beyond the door till one strong smack then nothing but silence. The Camera seems to be a normal medium camera with the F-stop being high as nothing is really out of focus as I feel this shot is focused more on the audio and the quick closing of the door almost like the camera didnt have time to think about what happened before kovac is killed.

5.This is a close up shot of the 4 prisoners watching their friend kill 5 guards to help them escape. The angle of it is that of the camera looking directly up at them and the framing is frame within frame as they are all looking threw the trapdoor. The composition of the shot perfectly gives us the face of all 4 characters as they react to what the 5th one is doing with the action all happening off screen giving a sense of intrigue to the audience as we have no clue what is going on down their till the camera cuts to another one giving a POV of someone looking down and see that the 5th guy has killed them all but also died in the scuffle. F-stop is might be in the mid range as the close wood wall is out of focus as well as the wall behind them giving a nice shot that is focused on that frame within a frame. The Mise en Scene of the shot is a battle happening and its a interesting choice that it mostly happens off screen to give a good sense of huge battle as when it cuts back down it wasnt a pretty fight for either side as the inmate dies in the end giving his friends a escape out of the prison.

Act 3:

6. This is a master shot of three characters standing behind a desk. The angle of the shot being low which I feel is used as type of empowerment for Zero along with the spot light that is focused on him. The composition of the shot shows the three at work with the framing while being 3 characters with the spot light has the audience's eyes very much focused on Zero and his accomplishments while he narrates how everything ended. The spot light ends up leaving the scene as soon as the camera starts to move out to show more of the area around him after giving him the literal spot light even showing the new lobby boy. The Mise en scene is that of calm enjoyment. The music of the scene as well as how the actors are shows a happy ending with everyone living nice and people like Zero being able to assume a high position at the hotel as he shows the two people around him something he is looking at. I think the new Lobby boy being in the scene is a great comparison to his coming up showing where he started to now with his come up even paralleling how gustave's upbringing as the top of the hotel. The F-stop is low with the background not being in focus much and the characters being in focus

7.This is a wide shot with a heavy focus on the the characters and the painting. The angle of the show being eye to high level and the framing being a double or a triple if you count the painting which could be seen as almost as gustave being their in spirit. The composition of the shot is of a well lit desk of a concierge but is well focused on the painting with the two character sitting on the rule of thirds and the painting being right in the middle of the two. Their isnt much motion in the scene except him fixing the painting and getting behind the counter. The Mise en Scene of it is almost poetic in the fact that painting that they risked their lives and everything over is tilted in the grand hall like its days gone bye. The lighting on the painting is almost the same as in the train cart from earlier in the film with just one light hanging above it giving it a sense of importance even when its crooked on the wall. The lens used for it could be a medium sized lens as nothing stands out giving me the idea its anything else as well as the F-Stop would be high as nothing is really out of focus in the scene as you need to see the characters and the painting as both are really important in the shot.

**ediValle** · 11-04-2024, 10:50 PM

Ediza Valle

1.
An establishing shot of the hotel. The angle seems to be at eye level since the hotel is at the middle of the shot facing towards the camera. As a still shot, there’s no motion towards this since it’s clear we want to look at Budapest Hotel. Mise en scène really comes to play beautifully here and throughout the film, in this shit we see the hotel in pink and white, with pink, mauvish forest background with the stone ground fitting in. Throughout the film anything pink is known to be prestigious or of high value, we not only see this with the hotel but with Mendl’s, the pink boxes with tasty treats.

2.
a medium close up shot, with a high camera angle, we saw Zero grab a stool setting it down since they’re after a painting that’s placed above them. Though it also can be seen as a POV shot from the painting’s point a view, giving the sense of not temptation but the clear thought process that the two might reach for the painting/camera. The lighting in the scene is interesting since the back is darken and only the two having more light on them, or course it’s so that our focus is on them, but the lighting gives off a “we bouta steal” mood. We not see these two but everyone working in the hotel wearing purple, which is commonly known for royalty. Which fits into the high reputation of the hotel and the way they talk in a very formal manner being both logical and respectful towards everyone within reason.

3.
A full body shot with a POV angel since one of the employees is talking to the two. We’re given a still shot throughout the scene as the camera cuts then panning around. While the room is well lit, there’s also a bit of dim lighting, giving off an uncertainty vibe. This safe room is dull compared to the colorful atmosphere around the hotel which obviously this room is not to be entered by many people, this safe room also gives off a dull look with all the supplies sitting in the back of the room. The walls not being as decorated as the would be around the hotel, as if they also didn’t want this room to bring any attention.

4.
I wanna say this in a way is a master shot, solely because we’re getting a glimpse of a room and we see a silhouette of a mysterious man standing at the doorway. This is also a high camera angle, so we can see just how many armored stands are in the room. This is also a still shot scene, with very particular lighting. The room is very dark with just lights hanging over each armored stand, which gives an eerie look. What makes it a little more uncomfortable is how we don’t even see anything from the stands’ waist and down. While mise en scene isn’t the main focus here, lighting most certainly is since a mysterious man is going after someone in this chase sequence.

5.
We’re given a full body, low angel, crowd shot because the cops/guards are trying to figure out where the prisoners escaped to. Another still shot scene with neutral lighting. The uniform the men wear, while aren’t as colorful as those in the hotel, seem nothing out of the ordinary that officers would wear. The prison room itself lacks of color, which makes sense since prisons aren’t meant to be happy.

6.
We’re given a medium close up, tracking shot. As he walks forward the camera moves along as he follows Agatha(?) who has his mother’s prized painting. Lighting in the scene is fine, but it’s the black clothes this character wears that makes us drawn to him. Which works perfectly since we’ll see him sticking out. Of course characters dressed in black clothing is none to be evil, or an antagonist. Which even early on in the film, he’s been introduced as our protagonist’s opp.

7.
Another medium shot, with high camera angle since our focused is not just on the two characters but on the wrapped painting too. We also have neutral lighting since it’s day and the characters are hanging on to dear life. In the scene Zero gets help from Agatha to get the painting and wears a Mendl’s uniform as a disguise. Though it’s not pink, then blue helps separate those who have a connection with the hotel.

**NearSharp** · 11-04-2024, 11:58 PM

Nathan Munoz

Act 1: Shot 1

Shot size: Establishing shot to show the change of scenery and the decor of the hotel.
Angle: High angle
Framing: crowd shot, Characters are in the lower middle of the frame to help show the scope of the room they are in.
Shot composition: Both characters are in the middle of the frame and take up the least amount of screen space, but the lighting helps distinguish them from the background.
Direction: Both characters sit across from each other. Zero sits towards screen left and the Author sits towards screen right.
Motion: Camera tilts down to establish the scale of the area and characters.
Lenses and other camera settings: 15mm - 35mm, f8
Mise en Scène: A nicely lit scene with mostly orange tones. Despite being well lit, there is a spot light that helps direct the eye towards the two important characters in the scene.

Act 2: Shot 1

Shot size: Medium Shot
Angle: Low angle, Gustave is vulnerable. He is uncomfortable in an unfamiliar place.
Framing: Clean single, The main focus is on Gustave but there is a guard that is looming over his shoulder and keeping him in place.
Shot composition: Gustave is in the middle of the frame and is framed behind this window that covers a lot more of him then it does anyone else. He's quite literally framed in the window in front of bars where a guard watched over his shoulders behind the bars.
Direction: Gustave is in the middle of the frame not leaning one way or the other. Hes stuck in the middle of this situation.
Motion: Camera is stationary.
Lenses and other camera settings: 50mm-70mm, f5.6
Mise en Scène: I like how when the camera is on him the Wire in the window obscures more of his face as opposed to zero where he is far more clearer.

Act 2: Shot 2

Shot size: Medium shot that focuses on the card Jopling showing.
Angle: Eye level, there is no immediate judgment on the character. Still very ominous.
Framing: Clean Single in the middle of the frame.
Shot composition: Jopling sits in the middle of the frame with his eyes covered in shadow and his whole body obscured by the blur. The only thing being in focus is the card and his hand covered in rings.
Direction: Jopling remains in the middle of the frame along with his card that only states his job.
Motion: Camera is still to focus on the card that Jopling is showing to the person.
Lenses and other camera settings: 15-30mm, f4
Mise en Scène: lovely use of shadow to cover the eyes of Jopling and hide any intent. The shadows also add to the menace of the character as well as keeping him out of focus in the background.

Act 2: Shot 3

Shot size: Close up of Agatha’s face that focuses mainly on her eyes. They pierce the screen and leave you as awestruck as Zero in this scene.
Angle: Eye level, We are staring right at her eyes. An intimate moment we are being allowed into.
Framing: Clean single, all that matters is her in Zeros eyes.
Shot composition: Agatha is in the middle of the frame and takes up almost all of it. She is the main focus and all attention is on her. The background is blurred and only blurry circles represent the lights that once took up the background.
Direction: Agatha is in the Middle of the Frame. She is the most important thing in the frame.
Motion: The Camera remains stationary but the lights in the background revolve around Agatha.
Lenses and other camera settings: 85mm-105mm, f2
Mise en Scène: The excellent use of the color red thay lights her face represents the love that Zero feels for her in the moment. The blurred out background perfectly represents the feeling of only having eyes for one person.

Act 2: Shot 4

Shot size: full shot
Angle: Low angle that has Henckels men towering over him and yet he is the only one they are looking at.
Framing: Crowd shot with a main focus being on Henckels reaction to the escape hole.
Shot composition: Henckels is in the middle of the frame and is far more in focus and lit to the other characters in the background to help him stand out.
Direction: Henckels is in the middle while his men surround him and all look towards him directing our attention to him in the scene.
Motion: The Camera starts near the hole and pulls out as Henckels pokes his head out revealing that all his men are standing there.
Lenses and other camera settings: 30mm-50mm, f8
Mise en Scène: Despite being in a room of people dressed similarly, Henckels stands out by being lower in the frame and having brighter pops of color in his costume. It's also nice all of them are looking at him which helps direct the viewer's eye to him as well.

Act 3: Shot 1

Shot size: Full Shot that is cropped around the ankles to show the imbalance this character has before falling out of frame.
Angle: Low Angle to show the power the character had over Gustave before being pushed off.
Framing: Dirty Single, Jopling is the main focus but the sneak attack from zero in this scene takes away just a bit of the focus.
Shot composition: Jopling takes up most of the frame and is in the middle as he is this imposing character and about to kill off Gustave until the smaller of the two surprises him with a push. Joplings ankles are also cut off here leading to a sort of imbalance to his stance.
Direction: Joplin is center stage as he is the biggest threat in the frame… well before he falls off.
Motion: The camera remains still to allow the surprise of Jopling being pushed off to his death.
Lenses and other camera settings: 10-20mm, f4
Mise en Scène: The foggy look to this scene adds to the suspense but it's really funny how he flies off screen.

Act 3: Shot 2

Shot size: Wide Shot, Focus is on the characters and their environment. Both Characters are submerged within boxes of sweets in the back of a truck they used to sneak in with.
Angle: High Angle that helps convey chaos and discovery. Chaos in the sense that they fell off a balcony into a truck full of sweets. Discovery in the sense that they have both discovered something that will put this whole mess to rest.
Framing: Overhead two shot where the main focus is both of their reactions and their closeness.
Shot composition: The tear in the truck's roof perfectly frames them in the middle of the frame and gives us shape within a frame.
Direction: Both are in the middle of the frame. Both are on the same page and are not on differing sides.
Motion: the Camera is stationary, The main focus is the pair and the odd place they've landed in.
Lenses and other camera settings: 50mm, f11-f16
Mise en Scène: Nice shades of Blue and pink that fill this scene. As well as the solid pink frame that is made by the hole the two characters fell through. The bright pink brings attention to the shadowed and dull pink inside of the truck.

**Sen07** · 11-05-2024, 12:19 AM

Yessenia Montalvo

This is a medium two shot that captures both characters and their surroundings but is still close enough to be able to see characters facial expressions. This is at eye level that makes for intimate conversation.There relaxed posture shows their mutual respect for each other. There is no food on the table. Everything looks meticulously arranged symmetrically including the characters. The owner is dressed in rich colors that shows not only their personality difference but also their social standing. While the other character is in more neutral muted colors. This scene seems to have been shot with a short lens, with a shallow field of depth that makes the characters the front most focus. The lighting and the color gives a golden glow.

Close up shot that allows the audience to see the character drawing on his mustache. This shows a physical transformation as his role as lobby staff. This is shot at eye level and gives the viewer direct connection to the character and helps immerse them into the character's line of action. There are few objects in the characters room giving an almost prison-like feel, but what is there is neatly arranged. This scene was shot with a slightly wide lens and shallow depth of field that always allows the character to be in focus while simultaneously allowing the viewer to see some environment detail. The lighting while warm is slightly muted giving an almost lonely atmosphere. The light bulb and bare room are other indicators that the character is completely alone in the world.

This medium close up shot allows the audience to be able to see the character's face and how bruised up he is.This is at odds with the character. For the first time the audience sees the characters as vulnerable. However while bruised this has not broken the character's resilience. This angle is straight on this view of the characters helps emphasize the distress we feel when seeing this character in a place that they so clearly doesn't belong. The character's sense of entrapment is emphasized by the way they frame him in the door frame of the jail cell. And they are barely out of focus, a police officer looming over. A standard lens would be used for this shot with a shallow depth of field since that background is only slightly blurred.

Low angle Insert shot. They wanted this to look foreboding and mysterious. IF these are the guy's fingers we can only imagine what happened to the rest of him. This paired with the dark lighting give the scene a sense of tension. Their fingers are unevenly spaced and layer out in almost a presentation manner. That indicates that there was definitely foul play involved. The lens used for this was shot with a shallow depth of field.

This is an overhead Insert shot that is taken as a pov. This is a important shot to show the audience because it allows the audience to see what DaFoe’s plan was. It shows all the evidence he has collected and how he was able to piece it together. The lighting is bright but with dark shadows that give this a sense of darkness. The lens used for this show was about 80mm. The director used this shot to convey to the audience that not only is DaFoe that killer but he see who his next target is.

This long shot at a low angle shows the tower and surrounding snowy terrain; it also shows the characters leaving the tower. The low angle really emphasizes the size of the building in relation to nature and how isolated it is. The building is the main center of the picture. They wanted the building to look big and imposing while all we can see is the character's small silhouette. This was shown with a long lens that shows the mountains look so close. There is also a deep depth of field that enhances the sense of isolation and utter cold.

**ChayaNF** · 11-05-2024, 12:27 AM

Chaya Fuller

This scene is from Act 1, it's a full body shot, clean single, at a full body framing, this shot, the way the shot is frame shows off the loneliness with this character. The lighting is soft almost letting us see into the character in a delicate state, the way the character is set up it's like a frame in a frame, the wall is framing the character in a locked in environment.

This is from the beginning of the third act opens with an establishing shot, set at a low angle, it an insert shot. The lighting in this dark scene shows off the energy of this building and the people in it, the tall building wrapped around the frame almost in a way of saying whoever there is trapped.

This shot is from Act 2, it a wide shot showing us all the characters in the scene, pointed at a high angle, so we were able to see everything that was happening in frame, and with a crowded shot. This scene shows off the amount of power and wealth the lady had. With the many characters in the background, it shows the distance he has been between him and his ex-lovers' family. The light being low int building shows off the tense but very stressful situation.

This is from Act two, this is shot is a medium close-up, it's a dirty single, pointed at a Pov shot, the shot is like a frame within a frame having the character be framed inside the bars and with the windows. This shows have weak and helpless the character is in this moment. The lighting a is very bright showing off every part of the character making sure we are able to see the facial expression.

This is from Act 2,This is a wide shot, shown at a POV, at a full shot, the set and lighting in this room, show the darkness it set the mood in a way to shows heartbreak, the lightly lit room and no people give the room an empty feeling, with the casket at the end. There is a sense of framing with the plants and windows, framing the casket to director our eye to the casket at the very end of the hall.

This Act 2, shot is a wide shot, at a Pov, and a clean single shot, the lighting in this frame is dark showing the danger this character is in. The lighting is only on the amor in the foreground making the scene feel alot more tense and scary.

The is from the Third Act this is an establishing shot, a clean single, High Angle, the lighting in the scene is dark, but not only because the sun has gone down but because this is a very tense moment for the person in scene. This scene is almost set up in a frame with the building surrounding him like he’s trapped within a frame.

**JuGamez20** · 11-05-2024, 12:36 AM

Julian GAmez

Act 1

Shot size, angle, framing= medium shot because it really shows above his waist and above and its to show he is sitting down and to show he about to make an announcement. single frame because he is the only one meaning he is the main center of attention, eye level because he are looking at him normally meaning its kind of a way of showing us we are watching it from the tv or something like that
Shot composition, direction, motion= deep focus cause there's no blur in the background or anything, to show possibly a mix of importance or something casual. he's in the x axis looking foward, with zero motion to show like we are watching tv with a news reporter.
Lenses and other camera settings= 200mm-300mm, no big chnages to aperature etc, to show that this scene is a scene to show this is not powerful scene so we can just calm down and watch the scene
mise en scène (set, lighting, costume, makeup, etc.)= this is an office with clear wooden desk much like an older lawyer office from the mid to late 1900's and he is wearing an old suit and tire meaing he is a traditional man from older times. with tons of books in the background meaing he is possibly a lawyer seeing he must be a smarter person than average people
Other relevant information,= shape is possibly linear to show he having a conversation with discussion to follow.

act 2

Shot size, angle, framing= medium close up shot because of starting at the mid chest going up. one shot because she is the only one that's there. eye level to show she is talking to someone in a POV thrown in the mix as well if you think about it
Shot composition, direction, motion= shallow focus, with her being in the dead center of the camera with no motion to show she is the main attraction so we should pay attention to her so we can get a feel for whats going to happen in this scene
Lenses and other camera settings= 300mm or over, and the aperature is a little bit smaller than if it was big at this moment to show that she is the main center of attention.
mise en scène (set, lighting, costume, makeup, etc.)= she seems to be in a old and dirty room with her being all washed up and with old dirty sheets, and others clothes and materials in the background.
Other relevant information, square because the setting of this frame looks unnatural because theres no way this is an average wednesday for her and it looks like a very dangerous action is about to take place

Shot size, angle, framing= two or crowd frame, wide shot, and eye level
Shot composition, direction, motion
Lenses and other camera settings 250mm-300mm, aperature is a bit smaller to show this is a scene that's kind in a mid establishing shot to show where we are and what the characters are going to be doing
mise en scène (set, lighting, costume, makeup, etc.) it's an extremely fancy resturant with fancy waiter, expensive suits with a big enviornment of expensive painting.
Other relevant information, circle because this looks like a passive conversation even though they may talk about something serious it's not like an end of the world kind of thing.

Shot size, angle, framing= one shot because he is the only one in frame meaning he is the one talking. medium shot because it shows in chest to above head so we can see him as he is talking at his desk. and eye level and POV because its like we are having the conversation with him in some way to see what the other person is seeing.
Shot composition, direction, motion= deep focus, being placed dead center, with no camera movement to show that he is the main center of attention and we need to listin to him in this frame
Lenses and other camera settings= 200mm-300mm and the aperature is pretty big to get a clear picture to show a clear view of him so we can see him talking
mise en scène (set, lighting, costume, makeup, etc.) like in the last office it's filled with more books, jeff goldblum wearing a more professional suit and tie compared to a casual suit and tie
Other relevant information, linear because he is discussing topics ot follow something afterwards of some kind

Shot size, angle, framing= establishing shot, one shot frame, high angle. because it shows a full picture of the building, he is the only one in scne, and it's over his head like we the viewer can get a clearer picture
Shot composition, direction, motion= deep focus, no motion in the camera and the character is front an center. becauseit's to show the next part of the act and or scene, with no motion to show what the place is and whats about to happen.
Lenses and other camera settings= the aperature hasn't changed at all with 135mm-150mm to get a full view of the enviornment with the character in frame as much as possible
mise en scène (set, lighting, costume, makeup, etc.) it's nighttime and it's snowing in the cold winter night, cars are parked by the front of the building in the right side. lamp post are on and only one other source of light at the end of the building.
Other relevant information,= circle to me because it's just establishing what the next scene are going to take place in so nothing else really important is going on

act 3

Shot size, angle, framing= single shot frame, high+low angle, wide shot. to show she is the one in the frame and we see above her head dangling down from a building. because this is to show how far she is from falling down and cracking something open.
Shot composition, direction, motion= deep focus, no motion at the moment, and facing the y axis to show she is in the air and see a clear picture of how high she is.
Lenses and other camera settings= 300mm or above with the aperature is from highest setting to two sizes down to blur out the truck and to show she is the main focus of the frame.
mise en scène (set, lighting, costume, makeup, etc.)= outside and for some reason it like fake like a college play levels, she is wearing a grey coat holding on for dear life ito a suitcase
Other relevant information,= triangle sort of in a way because she is holding for dear life in an aggressive way meaning her whole life could end in a flash and we the audience are at the edge of our seat

Shot size, angle, framing= wide shot, single frame, high angle. cause she is the only one in frame and while we see her full body we see the world she is in and she ends up being alone to show that this is the bittersweet ending kind of thing
Shot composition, direction, motion= deep focus, center stage and no motion is in place. as a way of having this calming or unsettling scene of the end of the movie, no music no dialogue just accept the scene for as it is
Lenses and other camera settings= 300mm or above, no change in the aperature to get a clear view of the picture to show that she is the one we focus on and know that the end is near
mise en scène (set, lighting, costume, makeup, etc.) the final scene in the movie, everything is silent and nothing is having the building are empty i would assume and she is waiting for or is sitting there just to sit there and reading.
Other relevant information, mix of square and circle because it's feels a bit unatural because this looks like something you would see in a movie where something is supposed to happen but nothing happens at all, and circle because it's a passive nutural scene to say a last goodbye of sort to the movie as it ends

Attached Files

**MontseNavarro** · 11-05-2024, 12:46 AM

Montse Navarro

**DanielCabang** · 11-05-2024, 01:47 AM

Daniel Cabang

The director made this scene a master shot and a wide shot. This is done in order to show the audience the vastness of the hotel, the emptiness of the hotel currently, and how it could have been filled long ago.

The angle is looking downwards onto the set. This is done to emphasize the lack of guests of the hotel currently, taking a view downwards onto them, making them small and far apart.

The composition of the shot is symmetrical, symbolizing the proper nature of the establishment that it could have been.

The lens is long, capturing the entire room and is maybe around 200 mm or more. It’s as if we’re looking at something with a lot of history, and can only witness it from afar.

The mise en scene, specifically the color, signifies beats in the story. The past in the movie is full of saturated color, while this shot takes place during the present. This shows to the audience that the bright past has made way for the dull beige walls that represent the present.

The shot is a two shot and is around medium to medium full. In this moment, the director’s trying to emphasize the reaction and emotion from these two characters and so we look at them like this.

This angle is a downwards angle, around where the painting very important to the scene is hanging. The audience is made to look upon the characters as they gradually realize what they need to do.

The lens is around standard, about 70 mm and the aperture is slightly wide, letting in enough light to blur the background slightly. Both of these are done so that we’re right up in the characters space while still having space in the frame to act with their arms.

The color of the scene has the characters clad in a dark purple contrast from the lighter warm colors of their background. This is fitting, as they’re making their way out with a prized possession in this scene and need to escape this foreign environment.

The shot is a clean single and is a medium shot. This scene is pretty serious and so the audience is forced to confront the character up close and personal just like the woman this shot’s point of view is taken from.

The angle is at eye level, making the audience and the character being talked to in the scene confront this uncomfortable situation.

The aperture is a little wide to blur the background, bringing the focus to the character.

The color of the scene is very dark. The colors of the past are full of color most of the time, so being plunged into the darkness of the scene makes the audience know something serious or important is happening.

This is a crowd shot and the main character in focus is at a medium to medium full shot. Him being in prison is an important part of the story so far, so having the inmates and officers present in the shot helps show his situation to the audience.

The angle of the shot is approximately eye level, as it’s a message towards another character, but also to help look directly at the character's emotion during this talk.

The shot is framed to where the inmates and the officers cram the character in the middle, as his captivity is integral to the story.

This shot is a single shot, though there is no direct face. The lens is long and the aperture is small, not blurring the background by much. This is also a wide shot. This is all done to show the audience that the character is far away from help and is at the center of something about to happen. The shot is dimly lit and the colors are generally dark for snow, showing the audience something grim or dark may occur soon.

This is a double shot looking down at both characters. This is an important scene between these two, and this shot composition allows the audience to look upon the characters during a moment of vulnerability and openness. The mise en scene is interesting in that it contrasts the bright and saturated scenes earlier in the movie, allowing the audience to clearly see these two have a moment without any warping by nostalgia the narrator may have. The two characters lay parallel to each other side by side, showing the bond they’ve grown over the course of this movie.

This is a two shot and a medium shot. This is a mildly emotional part of the movie, as Zero relives the end of his tale, and so having the ability to see both of their faces while getting enough room to set the environment helps the audience. More importantly, the aspect ratio has changed back from the square aspect ratio from the retelling back into the wider ratio of the present. The audience’s view is no longer constrained by the square aspect ratio and is able to view the world outside of the past. One character is dressed in the saturated colors of his fond past, while the other is dressed in the drab reality of the present, showing how one character still hold on to that wonderful past, with the hotel background also having some sort of saturation despite it’s decoloration.

Announcement

Fall 2024 | Watch with Purpose #3: The Grand Budapest Hotel

Fall 2024 | Watch with Purpose #3: The Grand Budapest Hotel

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