Method of Working (Part 22)

Scene Analysis:

The Grand Budapest Hotel – directed by Wes Anderson

Shot 1: Medium Close Up of character 1 (male). Still shot. The male character is positioned centre of frame, perfectly aligned with the symmetry of the room. There are sharp lines and objects that allow this shot to be visually appealing when everything is positioned the way it is due to the location. The character is in the middle of strong lines on the walls, paintings on the walls, and the lights positioned either side of his head. The Lobby boy is in the background to the left of frame, over the shoulder of the male character, so that he is not too far away. This suggests that he is important to this man as he is always with him. The male character is never alone in a shot.

Shot 2: Medium Close Up of character 2 (female). Still shot. Anderson has again situated the character perfectly in the centre of frame taking into account the symmetry of her surroundings. She is positioned in the middle of an open door, and either side of her are paintings and tables. Having this all aligned allows for the audience to concentrate on the character and not on their surroundings as such, because is is visually appealing.

Shot 3: Medium shot of both character 1 and character 2. Still shot. The female is to the left of frame, the male to the right, and the door is positioned perfectly between the two. Again, this scene has a greater impact because the lines and symmetry are so strong. The characters are now shown sitting at a table, facing towards each other, showing to the audience that they are in the same room; because in shot 1 and shot 2 it was unclear.

In the first two shots the characters are looking straight towards the camera and when shot 3 shows both of the characters in the same shot it suggests to the audience that the camera was meant to represent the eyes of the other character observing their response.

Shot 4: Same as shot 2

Shot 5: Same as shot 1

Shot 6: Same as shot 2

Shot 7: Same as shot 1

Shot 8: Same as shot 3. Showing the two characters together again to finish the scene shows that they are still sitting together and it is important  for the audience to know that their storyline hasn’t ended. The two are not separated just yet.

From shot 4 to shot 7, there are quick cuts between the two characters, representing their in depth conversation. Having the single shots of the characters when its their turn to respond to the other, creates a greater impact on the scene, really concentrating on their body language and facial expressions. These are simple shots that create a strong dynamic for the scene, and gives it that important impact it needs towards the overall storyline.

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