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

[nick_fite]

Nicholas Fite
(side note: this one is kinda hard to tell where act II begins. It’s very diegetic. I’m assuming the taking of “boy with apple” is the beginning of act II, as that’s where we know what everyone wants and their problems.)


Act 1:



This shot is a full dirty triple from a low angle. The camera and characters are mostly still. Likely using a wider angle lens to get everything into the shot, around 35mm. Everything is looking rather sharp so the aperture of the camera must be pretty small, so the f-stop should be around 20. I found this shot interesting because of the colors of the scene. The bad guys are draped in black, the good guys in purple, and the room is green. It shows how the good guys are out of place in this house, as the purple and green clash quite a bit. The blacks, browns, and greens of the room and the clothing of the other family members makes them stick out. They are outsiders both in the sense that the family doesn’t want them there, and in the sense that they don’t fit into the scenery. The bad guys are also trapping them within the screen. Both on their left and their right they are trapped by them.


Act II:



This one does some interesting stuff with the foreground and the background. The shot size is full, even when the character is in the foreground, it’s shot from a low angle and it’s a single. The shot begins with the character leaving that hatch and running to the left, then we see a shadowy version of him in the background running to the right. The camera doesn’t move. Despite the loss of detail in the character (that I’m assuming was animated in after the fact) everything is still sharp and in focus. Given all this, I’m assuming it’s a relatively shallow lens, around 35 mm, with a small aperture, an f-stop around 22. The way that the character moves from left and then to the right gives the story a whimsical feeling. The movement makes sense, but the logistics don’t. The story is technically a girl reading the story, of someone hearing someone's retelling of the story, so this break in logic makes sense. It overall adds to the feeling of the movie.




This is a single mid shot from a low angle. The background is somewhat blurred, so the aperture is a bit more open but not too much. Due to how close the background feels to the character, it seems to be a longer lens. The lens is likely 100-200mm with an f-stop around 10. The character is in the exact middle of the screen, with no major movement from the camera or from him. In this scene, the character is going to die and he’s watching as the killer follows him. What’s interesting is what’s going on with the character’s glasses. They’re showing these blue reflections which draw our eyes to it. He’s watching as the killer gets closer and closer to him, so his eyes are emphasized in the scene. His death is already guaranteed, so he’s already being cast in shadow.




This is a high angle crowd shot. The camera is still, and the little bit of motion we do see is the man in the light gray shirt stabbing the man in the dark gray shirt. On the edge of the frame you can see that the floor seems to almost bend away, this is something you get when you use a wider lens and the frame around the hole seems to be a bit blurry. This seems to use a lens around 30mm and an f-stop of around 10. The best thing about this shot is the frame within the frame. It shows that everyone in there was trapped. Everyone in the hole is going to die. From the objects in the scene you can also tell that they were playing a card game. So, without any context, you could tell that the man in light gray caught them off guard and killed them all.




This is a low angle single cowboy shot. We can see what the character in black is doing with his hands, and shows that he is in a position of relative power. The camera is also in the point of view of a character hanging off of a cliff. From this we can get an idea of what he is about to do, and who he has power over. Everything seems to be in focus, and there seems to be some rounding on his face due to a wider lens. The lens is likely around 35mm and has an f-stop of around 18.


Act III:



This is a full low angle dirty crowd shot. We can see the feet of all the characters, they’re being blocked by the people in the Mendl’s car, and we are seeing them from below. The camera doesn’t move, but we do have army personnel moving from the left to the right. The lens is likely a wide angle one around 35 mm and has a pretty small aperture with an f-stop around 20. This show shows how the army is out of place in The Grand Budapest Hotel. The black of their clothing, their banners, their tanks, and their cars clash with the scenery of the hotel. While the more pink and subtle brown on the Mendl’s car, where our main characters are, more cleanly lines up with the aesthetic. Interestingly, on the building, the banners have turned the typically white Z’s (a play on the nazi SS) pink. Like it’s trying to integrate, and failing.




This is a low wide double shot. We can fully see the characters, and they’re pretty small in the scene. The background has a slight blur to it, so its aperture must be a little bigger. The lens seems to be around 35 mm with an f-stop around 18. The camera was originally closer, but was pulled back to this distance. An important thing to note is the colors, lighting, and aspect ratio in the scene. The character telling the story is wearing purple and red while the character listening is wearing brown. It makes the storyteller clash with the background, and makes the other character seem like a natural part of it. There is a spotlight on their table, further emphasizing they are the only people in the room. Then the aspect ratio changes from something more square to a more traditional movie aspect ratio. The change lets us see more of the room, further emphasizing the loneliness. Something that is pretty consistently brought up in the story is the idea of being someone from a different time. In this shot, the storyteller is still dressing like it’s that older time, when all the staff wore purple, but the room around him doesn’t compliment that anymore. The room has changed, but he hasn’t. All of this creates a scene that is lonely.

[BSmith01]

Blake Smith


Act I
Shot 1:

The wide shot in this frame is used to emphasize the grandness of the hotel, while also creating a sense of isolation between the characters in frame. It is a crowd shot, and if it wasn’t for the narration, one would not be able to tell who the focus is on. Everybody is minimized here. The angle is very high, adding to the feelings of isolation and grandness. A tilt shift effect is utilized which makes the scene all feel like a toy set. The focal length is a bit short, lengthening the space between the foreground and background. The f-number is likely a bit low, as some blurring is noticeable, and the color is quite bright. The color of this room is much less welcoming than in the same space shown later in the film. From the arrangement of the tables in a grid pattern, to the mural in the background and the outline of the stage, everything is quite cubic.



Act II
Shot 2:

The full shot of this frame is utilized to display the body acting of Willem Dafoe and to show that the murder he has just committed has seemingly gone unnoticed. The shot is a clean single, again lending to the emptiness. A very slight high angle is used, perhaps showing that he is out in the open and technically vulnerable, but he is unfazed nonetheless. He is very central in the frame as he disappears deeper into the fog and further from the camera, which remains steady. It is clear that he is very good at his job. The focal length is short, as apparent by how he shrinks moving deeper into the frame. He and the scene remain largely in focus meaning that f-stop is likely high; This also darkens the scene further. He is framed by the buildings to either side of him and the empty street in front of him. The sharp blackness of his coat stands out in the otherwise pale colors of the scene. This gives him an unnatural presence which is clearly emphasized in the scene.


Shot 3:

A medium closeup is used here to emphasize the emotional state of Zero. The shot is a clean single, as our focus is entirely on him. The angle is a very slight low, creating a sense of vulnerability. Aside from facial movements, Zero is almost completely still and the camera is as well. This adds to the sincerity of the moment. The focal length seems to be medium, as there is minimum distortion of objects in the foreground and background. The f-stop is low here, causing an apparent blur and a brightening of the scene. This makes his face stand out particularly well. Zero is framed within a rectangle formed by the small building to the right, the door frame on the left, and the wall behind him. This makes him feel more central in the frame. There is a slight vignette which adds further to the emotional sincerity of the scene and Zero’s sadness at the situation.


Shot 4:

A medium wide is used here to display the state of Serge’s body. The shot is a clean single, as the focus is meant to be entirely on him. The angle is a low, better displaying the look of horror on his face and creating a sense of helplessness. Obviously, he is not in control here. The camera switch to this view is very jarring, as the discovery would also be for the characters in scene. The focal length seems on the shorter end of average here, making the door in front of him seem larger. The f-stop is on the high end of average here, causing a depth of field which is slightly broad and darkening the scene. Serge is framed by the opening of the confessional. He is also bathed in darkness, so his white robe stands out in the frame. The red of the floor adds to the grim sight of his strangled body.


Shot 5:

The full shot of this frame is once again utilized to display the body acting of Willem Dafoe. The shot is a clean single, putting him in a position of power. An extreme low angle adds to this. Gustav is completely helpless unless something changes. Defoe stands out singularly here. Not only is he the only full character on screen, he’s the only defined object. The focal length is short, making him seem further away than he is. This adds to the precarious nature of the shot. F-stop is medium low, which puts the focus on his face. The curvature of the ice surrounds him. As in all of his scenes, but especially in this one, Dafoe’s coat stands out starkly surrounded by the otherwise white scene. Over all it creates a very intimidating and precarious atmosphere.







Act III
Shot 6:

The medium closeup in this frame is used to show the emotional interaction between the three characters. The shot is a clean triple, with the two main characters closest to the camera. A slight low angle shows that the characters are comfortable with their situation. Gustav, Zero, and Agatha all hold each other in high regard, and are happy to finally be free from their troubles. The characters are pressed to either side of the frame, creating a conversational context. Focal length is quite long, keeping all characters relatively the same size and compressing the background. F-stop is medium high, which keeps everything mostly within focus. The characters are framed by the windows of the train car. Again, nearly all defined shapes are quite rectangular, maybe pointing towards the seeming stability that the characters have found at this point in their lives.




Shot 7:

The full shot in this frame is used to show the character’s position within the scene and to isolate them. The shot is a clean double, showing a mutual understanding between the two characters, while also creating emotional distance to the hotel, which has obviously changed. A low angle is used to convey emotional vulnerability. Zero is at the end of his story. The characters are central and far from the camera, making them seem very small. Focal length is medium, causing minimum distortion. F-stop is quite high, which keeps everything within focus and darkening the scene slightly; this is compensated for by a spotlight on the characters, an unmotivated light, which also places more importance on them. The characters are framed by the shape of the stage and podium behind them. While the colors of the location have changed, Zero still wears the colors of his Lobby boy suit. The era of decency that Gustav tried to uphold has moved on, but it continues in Zero.

[vbarajas]

Valerie Barajas


Shot size, angle, framing: Crowd shot with low angle and full body framing. This was created to show what everybody is looking at. The audience becomes part of the crowd as Gustave and Zero make their way downstairs as the military police wait for them. The shot is framed by 16:9 screen ratio, which was created by the director to represent a memory of the past when the movie is taking place.

Shot composition, direction, motion: The camera is still as everyone waits for Gustave and Zero to come downstairs. The Military police are in the foreground, which represents authority making them bigger in the shot. The hotel staff are in the middle making them small but still visible to the scene. Gustave and Zero are in the back making them very small and insufficient as they descend from the stairs.

Lenses and other camera settings: Camera lens is set up at 55mm with a f/8, a shutter speed of 1/125, and an IOS 400.

mise en scène (set, lighting, costume, makeup, etc.): Lighting is very bright but soft giving a welcoming and cozy environment. The soldier’s costumes are grey and saturated, while the hotel staff is costume is purple giving them elegance that hotel represents. There is red on the carpet floor which represents danger that the main characters are in as they about to enter the lobby as the movie starts to thicken its plot.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There is a round circle on the left side of the screen which represents connections between all the characters in the shot. There are squares on the floor which represent being trapped as Gustave encounters the Military Police.



Shot size, angle, framing: 2 shot with medium frame and eye level angle. This was created to see Zero’s POV of how Gustave is
adapting to prison life.

Shot composition, direction, motion: The camera is very still as Zero is talking to Gustave. Gustave is the center focus of the frame but has not power in this scene for he is being supervised by the prison guard who watches him very carefully.
Lenses and other camera settings: Camera is settings are between 50mm-55mm, with an f/16, a shutter speed of 1/500, and an IOS 400.

mise en scène (set, lighting, costume, makeup, etc.): The costume that Gustave and the prison guard are wearing is grey and saturated. There is make up on Gustave’s face is to look like he got into a fight with another inmate. The lighting is soft and very little to show, making the setting for the prison very depressing.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There are frames within frames in this scene making the audience and Gustave trapped in the small space that their put in. There are a lot of squares to represent being trapped and dominated and unable to see the outside world



Shot size, angle, framing: 2 shot, low angle, head shot. This was created to see more of the painting making it the center of the focus in the screen.

Shot composition, direction, motion: Camera is still as it’s angle to focus more on the painting “Boy with Apple.”

Lenses and other camera settings: Camera is settings are between 50mm-55mm, with an f/16, a shutter speed of 1/500, and an IOS 200.

mise en scène (set, lighting, costume, makeup, etc.): The lighting is dim but still shines brightly on the painting, making it the focal point of the scene. Gustave is wearing a red pajama shirt that indicates danger that he is about to encounter.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There is a mirror prop to see more of Zero’s face as Gustave inmates the painting.

Shot size, angle, framing: Close up, Eye Level, Head shot. This was created to see Zero’s POV of his love interest Agatha. As they go on their date.

Shot composition, direction, motion: Camera is still and is level and center to Agatha’s face. The only thing that is moving are the lights behind her that give her face a more soft and gentle complexion.

Lenses and other camera settings: Camera is settings are between 50mm-55mm, with an f/8, a shutter speed of 1/500, and a IOS 200.

mise en scène (set, lighting, costume, makeup, etc.): The lighting is very dim but show brightly in the back to give Agatha a more soft and gentle tone to her character.


Shot size, angle, framing: 2 shot, medium frame, low angle. This was created to see both characters Agatha and Zero interacting with one another.

Shot composition, direction, motion: Camera is still but has a low angle that the audience can see Zero talking to Agatha.

Lenses and other camera settings: Camera is settings are between 35mm-55mm, with an f/8, a shutter speed of 1/500, and an IOS 200.

mise en scène (set, lighting, costume, makeup, etc.): The colors in the room are a brown tan color which could symbolize a sense of comfort and security. The lighting is very low and dim that indicates that Zero and Agatha are keeping a secret. The costumes that Agatha and Zero are wearing are very light in color.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There are squares in this scene that symbolizes trust and comfort for Zero trust Agatha with his secret as he talks to her.

Shot size, angle, framing: Birds eye view, establish shot, medium frame. This was created to see which direction the villain Jopling is heading, as Zero and Gustave are chasing after him on a sledge.

Shot composition, direction, motion: Camera is still but angle high but pointed downwards to see which direction the bad guy is skiing to.

Lenses and other camera settings: Camera is settings are about and 18mm, with an f/8, a shutter speed of 1/500, and an IOS 800.

mise en scène (set, lighting, costume, makeup, etc.): The lighting is bright but has soft quality. This takes place in the forest where a ski resort is located, there are a lot of trees which can make the audience feel confused and disoriented.


Shot size, angle, framing: crowd shot, medium, low angle. This was created to see the outcome of the second will that Madame D. created, as everyone is gathered around the table.

Shot composition, direction, motion: Camera is still but focus on Henckel as he opens and reads the second will that was the main objective of the movie.

Lenses and other camera settings: Camera is settings are about and 18mm, with an f/8, a shutter speed of 1/500, and an IOS 800.

mise en scène (set, lighting, costume, makeup, etc.): Lighting is bright but soft tone giving calmness and a final reveal of the will. Everyone is wearing different color costumes that indicate all the chaos that everything was happening before the will was open.

Other relevant information, (e.g., shapes within frame, frame within frame, relevant movement): There is a square in this scene that symbolizes structure and authority as well as round table that symbolizes unity and connection to everyone in the scene.

[Leopoldo]

Leopoldo Esquivel

Act I


Shot Size, Angle, Framing:
The Medium Close Up shot centers on the two characters, bringing the audience directly into their personal space.
The low angle subtly empowers the characters, adding gravity to their interaction.
The Two shot clean framing choice draws us into the intimacy of their interaction, suggesting that what they’re discussing is crucial and private.

Shot Composition, Direction, Motion:
The composition places the characters almost cheek-to-cheek, creating a visual tension.
The character on the right leans in, while the other appears slightly defensive/confused or appaled that he doesn't know who zero is, indicating differing motivations or concerns.
From right to left the character on the right leaning in seems curious slightly moving with him to get closer to the other character.

Lenses and Camera Settings:
Likely a medium-length lens with a wide aperture (e.g., f/2.8), which keeps the background soft, isolating the characters from their surroundings to emphasize their dialogue and expressions.

Mise en scène (Set, Lighting, Costume, Makeup):
The background's warm orange and the characters' costumes (the purple suit and brown tweed jacket) add contrast, aligning with the film’s distinct visual style.
The lighting is soft, yet directed toward the faces, bringing out expressions and intensifying the scene's emotional impact.

Additional Elements:
The frame-within-frame created by the doorway behind them reinforces the notion of privacy, as if this conversation is shielded from the outside world.
The presence of the sign "Keep this door closed" subtly echoes the theme of secrecy.



Act II


Shot Size, Angle, Framing:
The medium shot at eye level allows us to see both the character's reaction and the newspaper he’s reading, making it clear that what he’s learning from it is disturbing or concerning.
Slightly Low angle showing the character's shock.
Since this is a single clean shot it lets the audience see the reaction without distractions.

Shot Composition, Direction, Motion:
The composition places the character in the foreground, isolated from the background, drawing our attention solely to him.
There is a slight diagonal line in the positioning, adding a sense of instability or unease, matching his anxious expression.

Lenses and Camera Settings:
Likely a standard lens with a moderate aperture (around f/4) to capture both the character and the snowy background in focus, contributing to the setting's cold, distant atmosphere.

Mise en scène (Set, Lighting, Costume, Makeup):
The purple "Lobby Boy" costume and the snow-covered street offer strong visual contrast, further separating the character from his environment.
The choice of a cold, desolate background intensifies the feeling of isolation and reflects the gravity of the news.

Additional Elements:
The newspaper headline, barely visible, hints at a larger conflict ("War?"), foreshadowing trouble.
The desaturated, cold color palette complements the bleakness of the situation.


Shot Size, Angle, Framing:
A wide, symmetrical shot of a large hall filled with seated attendees, seen from behind a speaker.
The high angle and crowd framing make the speaker the focal point, suggesting the importance of the event and who is in control.

Shot Composition, Direction, Motion:
The speaker’s raised arms direct attention to the crowd and suggest he holds authority or is giving an important address.
The audience’s somber expressions and attentive posture create a solemn atmosphere. The motion is twoard the speaker from the audience.

Lenses and Camera Settings:
Likely a wide-angle lens, capturing the entire hall and the crowd in one frame, with a mid-range aperture (f/5.6) to keep the details clear across the frame.

Mise en Scène:
The lighting is dim, with warm, yellow lamps casting an old-world glow. The room’s decor—taxidermy and dark wood—emphasizes tradition, possibly referencing the rigidity of societal structures or a sense of foreboding.

Other Relevant Information:
The symmetrical composition reinforces the speaker's authority and the formal setting, creating a ritualistic or ceremonial atmosphere, heightening the significance of the speech.


Shot Size, Angle, Framing:
A close-up insert shot of Serge's hands placing a confidential envelope within the frame of a painting.
The tight framing on the hands and envelope indicates secrecy.
The overhead angle is used to show the envelope clearly while Serge is packing the painting.

Shot Composition, Direction, Motion:
The character's hands move with precision, conveying carefulness and suggesting the information is valuable. The focus on the envelope's "CONFIDENTIAL" label conveys mystery.
Near the end of this shot the motion is from left to right then right after in the next shot it is right to left.
Used to have the audience's eye be moved to have it focus on the right side of the screen then set it up for the next shot.

Lenses and Camera Settings:
Likely a short telephoto lens (e.g., 85mm) with a wide aperture (around f/2) to create a shallow depth of field, isolating the envelope and hands from the frame's texture.

Mise en Scène:
The frame’s rustic texture contrasts with the clean, formal appearance of the envelope, evoking a hidden narrative element.
This mise en scène choice implies secrecy, as if concealing information in plain sight.

Other Relevant Information:
he close-up and the emphasis on “CONFIDENTIAL” add tension, making the audience aware of hidden stakes that could alter the narrative direction.




Shot Size, Angle, Framing:
A medium shot through a mesh screen, Clean Single framing the character in prison garb.
The slightly Low Angle brings focus to his expression, separated by the mesh, indicating confinement/Vunerability.

Shot Composition, Direction, Motion:
The character sits directly across from the camera, staring intently, conveying resolve or defiance.The mesh grid divides the frame, reinforcing the theme of entrapment.
The direction is from Gustave to the camera/Zero to show Gustave talking as if he is talking to the audince describing what he has been though.
There is no motion the camera is static pushing the fact that this is a converstation.

Lenses and Camera Settings:
A medium telephoto lens with a moderate aperture(around f/4) captures the character’s details while slightly softening the background, emphasizing his isolation.

Mise en Scène:
The prison uniform and the harsh, cool lighting communicate themes of restriction and punishment. The stark setting contrasts with previous opulent visuals, underscoring the character's fall from grace.

Other Relevant Information:
The grid structure adds to the sense of entrapment, while the direct gaze evokes empathy or curiosity, inviting viewers to ponder his circumstances.



Act III


Shot Size, Angle, Framing:
A wide shot of a crowd gathered around a table, viewed from a slight high angle, allowing the viewer to see the entire scene clearly.
The hgh angle indicates both importance and distance, suggesting tension and detachment.
The crowd shot shows the unity of everyone wanting to know what is in the second will.

Shot Composition, Direction, Motion:
The central figure holds a document, surrounded by onlookers leaning in, symbolizing communal interest or judgment.
This composition focuses attention on the document, suggesting it holds critical information.
The direction is from all around to the center to focus on the envenlope. The motion is static building the tension even further.

Lenses and Camera Settings:
A wide-angle lens with a small aperture (e.g., f/8) keeps all characters in focus, contributing to a sense of urgency or collective curiosity.

Mise en Scène:
The setting a grand room with ornate detail suggests wealth or authority, while the costumes vary, representing a mix of societal roles.
The warm lighting adds intensity, creating a charged atmosphere.

Other Relevant Information:
The crowd's positioning around the table signifies unity in purpose or shared stakes.
This communal focus on the document implies a pivotal plot moment, with implications for multiple characters.


Shot Size, Angle, Framing:
A medium-wide shot from behind two silhouetted characters, Zero and the character he is telling his story to, walking into an opulent but empty lobby.
The High Angle and the dirty two shot conveys the narative that the hotel is empty and a failed business.
The rear angle keeps the characters' faces hidden making this a dirty two shot.

Shot Composition, Direction, Motion:
The characters’ direction toward the center of the frame implies forward motion and progress, while the symmetry of the lobby provides structure and a sense of grandeur.

Lenses and Camera Settings:
Likely a medium lens with a moderate aperture(around f/4) to capture the foreground silhouettes and the expansive lobby detail in the background.

Mise en Scène:
The warm lighting in the lobby contrasts with the shadowed figures, signifying a transition or impending revelation.
The vintage decor underscores the story's historical and luxurious setting.
The emptyness of the lobby sell what is said before that the hotel is a failing business.

Other Relevant Information:
The silhouettes suggest the unknown or impending danger, setting a tone of suspense.
The symmetry and empty lobby evoke a foreboding calm, perhaps symbolizing the characters’ entry into a crucial phase.

[AllenSalvador17]

Allen Salvador

[allyomelet]

Allison Maldonado

[Roberto]

Robby garcia

[Meg Villanueva]

Meg Villanueva

[JocelynHop:3]

Jocelyn Hopkins

I had issues with my images not working, so here is the document. There is both a Word doc and a pdf doc, whichever works best.
Grand Budapest Hotel Analysis

SHOT 1

• Size, Angle, Framing: Establishing Shot, High Angle, Crowd Shot
• Composition, Direction, Motion: The center of the shot is overal not too bright despite the saturation of the orange causing it to be brighter than it actually is
• Lense/other camera settings: 5 - 15 mm focal length, 5 fnumber
• Mise en Scene: Vignette around the shot, orange lighting, unmotivated lighting of the table on the stage (no spotlights can be seen), all the tables are aligned and perfect, even the chairs are pretty much identical location wise for each table.
• Relevant Info: Lines from the structure of the building, the floor, and the tables all point toward the center painting in the shot
• Meaning: All of these aspects give the audience the feel that this particular space is important. It establishes where the main characters are seated during the telling of this story which shows that the Hotel is important to the characters. The fact that the tables are perfectectly aligned indicates the prestige of the establishment. The center painting is also a large aspect of this story as it is the main location of where everything is taking place, it is how we start our story on the bridge, so the lines of the walls, floor, and chair show the audience where the beginning of the story will start, its foreshadowing.

SHOT 2

• Size, Angle, Framing: Medium Full Shot, Low angle, 2 Shot
• Composition, Direction, Motion: Screen right to screen left
• Lense/other camera settings: 150 - 200 mm Focal Length, Fnumber is 1 - 3
• Mise en Scene: The lighting on the two characters is warm, compared to the lighting outside the carousel which is cold
• Relevant Info: Framing encloses them into the shot
• Meaning: All these aspects for this shot shows how the characters are essentially the only ones in this scene, despite seeing people in the background. Their conversation and their moment together is all that is important. The frame of the top of the carousel essentially encloses them together and the warm light of them compared to the cold light of the background also emphasizes their importance to each other in this scene and how they are the only aspect that matters in this moment.

SHOT 3

• Size, Angle, Framing: Wide Shot, Low angle, Crowdshot
• Composition, Direction, Motion: Dark Overall
• Lense/other camera settings:10 - 25 mm focal length, 8 Fnumber
• Mise en Scene: Strong vignette centering the characters of the shot
• Relevant Info: The shape of the bars and the small window is a shape within the frame showcasing the fact that they’re trapped (in jail)
• Meaning: All these aspects for this shot showcases how the characters in this scene are trapped, but in power as they are actively escaping, so the shot was designed to show them escaping but to show the other cells as well to tell the audience that they are not alone. It creates a more suspenseful tone to the shot, emphasizing how the characters must be silent as they escape.

SHOT 4

• Size, Angle, Framing: Medium Shot, Low angle, 2 Shot
• Composition, Direction, Motion: Dimly lit scene
• Lense/other camera settings: 50 - 100 mm Focal Length, 2 - 5 fnumber
• Mise en Scene: Strong Vignette, characters are all dirty, wearing dull colors
• Relevant Info: the character on Screen Left is the main one speaking and is taking up 2/3rds of the screen while the character on Screen Right is taking the remain 1/3rds since he’s listening, but we can still clearly see them both since they’re having a heart to heart
• Meaning: These aspects in this scene showcase this intimate moment, as the characters are having a heart to heart right after the main character escapes prison. They do this by dimly lighting the scene, they match because of their clothing and even the hats, they somewhat merge into the background and the background is still somewhat visible despite the blurryness as to showcase that they aren’t completely out of the woods yet and still need to get away from the prison.

SHOT 5

• Size, Angle, Framing: Insert Shot, High Angle, Pov shot
• Composition, Direction, Motion: The light drastically affects the composition of this shot
• Lense/other camera settings: 15 - 35 mm focal length, 8 fnumber
• Mise en Scene: the lighting is especially important in this shot
• Relevant Info: The ZZ Card is the center of the murders
• Meaning: These aspects of this shot strongly show the audience who is behind all the murders and who is next. The light especially highlights what is and isn’t important and where the Audience should look, with the ZZ card in the center showing the Joplin works for them and is hired to likely kill whoever in next and in this case its Agatha, the bullets with the dialogue, represents that he has to kill the next target.

SHOT 6

• Size, Angle, Framing: Medium Shot, High angle, 3 shot
• Composition, Direction, Motion:
• Lense/other camera settings: 10 - 25 mm focal length, 16 fnumber
• Mise en Scene: No color
• Relevant Info: Frame within a Frame (the window the the train car with the audience looking outside in)
• Meaning: All of these aspects, especially the no color, show that this scene is important but also not wanted to be remembered, it’s a depressing scene foreshadowing that the color in the narrators life is about to alter forever. This is also established through the fact that we are looking slightly down on them showcasing they are weak in this setting and the frame of the window makes them look cramped and trapped in the train car with no means of escape.

SHOT 7

• Size, Angle, Framing: Master Shot, Low angle, 2 Shot
• Composition, Direction, Motion: Dimly lit setting, despite the tables being lined up perfectly in the first shot now, the compositon emphasizes on the table in the center where the characters are and the tables in the background create a line of action all leading towards the center table
• Lense/other camera settings:
• Mise en Scene: lighting around them is dim but their location is bright
• Relevant Info: UnMotivated Light spotlighting the characters in the center
• Meaning: These Aspects of this shot showcases the importance of the characters, but also shows how small they are compared to the room they are in. The lighting and the tables as I described emphasize their importance and that they are all that matters as the story has ended, but despite their importance, they are still rather small in the space, meaning that even though this story is about the character on screen left, the Budapest Hotel is still the center stage of his life and the story. The openness of the room makes them both feel alone and with the narrator literally being alone as his friend died and his wife and child died, he is alone, but the Hotel is at the center stage of his life since it’s all he has left of his past. He even states that his wife is the only reason he has kept the hotel and visits it every year.