There is only one shot at the beginning of the film. Robert De Niro (Sam) walks to the car, starts it, and explodes. A rocker arm swayed from the far view to the near view. The protagonist got in and suddenly exploded, causing a strong unexpected visual impact and suspense. In fact, the suspense was only revealed at 2 hours and 45 minutes, and it appeared twice in a row. , Which is different from the one that appeared at the beginning, 2 hours and 45 minutes, it is also a rocker's pan and shift lens. The difference from the beginning is that it was taken on the other side of the axis at the beginning, and it was picked up at 2 hours and 46 minutes after the explosion. A big rocker top-down shot of this scene has a wide angle of view, similar to showing a panoramic view. The subsequent shots were more delicate. I took a few shots that were not available in the last two times-close-up shots of the characters' upper body, close-ups of their faces, explosions in the car (close-ups of the heads taken behind the characters), the plot is that Sam is installed under the driving position An explosion-proof device was installed, so in this shot, the surrounding fire was seen, only the person in the seat was not fired, and then I took a high-altitude shot from the top of the car, and you could see a big fire on the car. In this way, the audience understood all the scene of the explosion, and the three shots from different angles gave the audience a great impact. The sub-mirror table is as follows:
1.
Scene angle, movement, length, content, sound effect, music, effect
1 Panoramic becomes a mid-range, panoramic panning, panning 30S Sam walks to the car, starting the car Opera, a general overview
2 (special effects) All moving 10S Sa Bomb into the fire (special effects) The symbolic meaning of opera fire
2.
Scenery Angle Movement Length Content Sound Effect Music Function
1 Panoramic changes to mid-range Panning and panning 30S Sam walks to the car and starts the car sound Old song There is only one shot, and the process of being bombed is recorded
3.
Scenery Angle Movement Length Content Sound Effect Music Function
1 Panoramic transition to close-up shot overhead The rocker motion is large, and it gradually pulls down from the sky about 30s. Sam walks towards the car. Door opening No
2 Close-up Flat No 1S Sitting in the car No No
3 close-up overhead without 1S hand holding a car key key sound no
4 close-up after close-up flat no explosion None None 1S face more sudden
5 Close-level non-1S oil close-up table to start the engine sound no
6 level close-up face close-up found no 1S No sound of flame burning No No No
7 Close-up close-up No 2S Close-up of the back of Sam’s head, exploded in front of it. Explosion No
8 No. 8 Perspective View from above No 3S The whole picture of the car exploding can be seen from the sky
. It can be seen from all directions.
After the opening subtitles, the real opening is matched with classical music, close-up shots, background blur, casino boss Sam appears, the protagonist confesses, and then there are often times when Sam’s appearance in the casino surrounds him with a camera panning around him and blur background.
The shot in the 21st minute was very beautiful. The side light made the characters very three-dimensional. Three people were side by side, and then a small panning shot, the focus fell on Sam in the middle. Next, a few casino staff were introduced in the confession. This short shot was very interesting. The line said, "The banker should be optimistic about the players, the banker should be optimistic about the collection and payment of bets. Looking at the tube yard, the manager on duty looks at the gambling area manager, the casino manager looks at the manager on duty, I look at the casino manager, and the monitor looks at all of us.” Everyone’s introduction was not edited through the camera, but Quickly change from one person to another person on the field through the camera. After the camera freezes the introduction, we will introduce the next one. The last shot of this shot is aimed at the monitor, and the next shot is cut into the monitoring room, Sam I noticed that the girl in the monitor was showing up, and then the camera turned to the field again. So far, the female number one (Jinjier) played by Sharon Stone officially appeared. In the picture, Sam's eyes are looking to the left and Jinjier's face is facing to the right. Although it is a long distance, it conforms to the principle of coaxial line.
In the 52nd minute, the shot fell on a little tiger at the feet of the dancing girl, and edited to the next shot. This shot is relatively long, and one shot covers a lot of content through complex changes in push, pull, and pan. The first is a small dancing girl on the shooting field, then the camera moves down to the two hands holding money next to it, and then moves up to the owner of one hand, and then pulls back and pans slightly. When Sam shook hands, he stuffed the money into the hand of the dancer, and then continued to pull it back at a relatively fast speed, and then moved up to the overhead shot. The whole view of the entire space was seen. The shot was long but fast and very smooth. This kind of smooth shot covering a lot of content is very much in this film, 53 minutes, from an overhead shot to a close-up of Sam, 54 minutes, the whole picture of the theater is filmed around the camera, the movement is very complicated, 55 Minutes, a 360-degree lens shot Niqi hitting people and smashing cars. It looked a bit dizzy, but it was so gorgeous and beautiful.
At 1 hour and 16 minutes, Sam found someone to beat Jin Jier’s ex-boyfriend and dragged Jin Jier out to see. Jin Jier and the ex boyfriend were on the opposite side of each other. At the beginning, he used the mirror to face Jin Jier and the ex boyfriend. Editing in two directions alternately, and then the camera became behind Jin Jier, and you can see Jin Jier's struggling back and his ex-boyfriend who was beaten. Then I switched to several different perspectives. Sam dragged Jin Jier into the car. The angle of view, there is a visual angle of sight in a car. The male number two Niqi sat in a car silently watching what happened. The camera was at the back of his head at first, and the camera quickly looked around the entire venue in the same shot. The big pan finally fell on Niqi. In front of his face, he calmly watched Sam stuffing Jinji into the car. Nick's sight quickly fell to the fighting scene on the opposite side, and the camera was still on the back of his head. After that, Jin Jier cried badly in the car. The ex-boyfriend was full of blood and didn't care. The comparison of this group of clips suggested that the ex-boyfriend was ruthless and Jin Jier's pitifulness, so that the big changes that occurred later had a lot to do with this matter.
1 hour and 20 minutes, the governor arrived. The camera gave close-ups of the feet of the two. The carpet is bright red, the governor’s silver shoes, and Sam’s blue shoes are in sharp contrast. They are all gradually moved up from the low position to show the whole picture. The depth of field changes from a close-up to a panoramic view. Covering a large amount of information, which is also Martin's usual trick in this film. The dialogue between the two power tycoons is relatively long, and the shots are very regular, without any fancy methods. Whoever speaks is a shot of whoever speaks. In fact, until the end of the dialogue, the two did not show them in the same picture after shaking hands, implying that there would be entanglements in the future.
At 1 hour 37 minutes, there was a dead person lying in the middle of the road. This shot Martin played cards very unreasonably. Usually, our thinking is that if an object appears in the center of the screen, the camera must move closer to the object step by step, but this shot is the opposite. It is the middle shot of the dead. After half a second, it will be pulled up to the sky, and the movement will become a panoramic view of the dead. Next, editing a fox in a pool of blood is in line with the principle of "similarity editing". This shot is also very fancy. The shot rotates in a large circle and spirals upward continuously, from close-up to high-altitude shooting, becoming In the panoramic view, the "fox" in the visual just now is just a part of the shawl of the dead woman in the center of the frame. The next shot is still a similarity edit. A close-up of a man is covered with blood, and a camera takes a picture of him. The next shot is in the car, but it is still a dead body in the trunk. The shots of several sets of corpses do not have much horror atmosphere. On the contrary, the film renders a high-pitched and passionate atmosphere. The last shot of these sets of similar clips is that a private car parked in front of the house exploded, and the background was exploded. The female voice of the music sings to the climax, almost similar to a cheerful scream. After the background song calms down, the scene ends. The sub-mirror table is as follows:
scene angle movement content music sound effect
1 middle shot overhead shot up pull dead man lying on the ground high-pitched female songs gunshots and shutter sounds form several groups of "parallel comparisons" from here
2 close-up → middle shot → distant shot overhead shot Pull up and spin a couple falling in a pool of blood Same as above
3 Close-up Flat Pull back and zoom A man is dead and ugly Same as above Shutter
4 Medium shot → Close shot, overhead shot, top shot, push, zoom, the body of the man in the rear compartment Same as above
5 Medium shot, upward shot None Two policemen saw the dead body, covering their noses Same as above The tragedy seen by the rear compartment just opened, embodies cruelty
. The car exploded as above, but the treble part of the song exploded and screamed for
1 hour and 39 minutes. There was a telescope peeping scene with a clear zoom lens. Looking at the car outside the window from Niqi’s point of view, it immediately zoomed and the car changed. Void, Niqi's face holding a telescope appeared on the glass, and his face became clear. Also a master of lens language, Martin and Kubrick are very different. In Kubrick’s films, zoom is used. There are a lot of zoom lenses in "Full Metal Case" that I pulled before, but Martin used it in this film. Very few. By 1 hour and 40 minutes, the lens used a typical Martin Scorsese lens-as mentioned earlier, a non-edited lens is one minute long, but it has moved quickly from one side of the screen to the other. From floor to ceiling, from close-up to panoramic view, it covers a very rich information, and the lens is fast and smooth.
At 1 minute and 44 seconds, a scene at the public trial was very exciting, still using push mirrors and fast-moving shots, covering several characters involved in this matter. The character creation was very successful, and the status of different people was clear at a glance. , The sub-mirror table is as follows:
scene angle movement content sound effect music effect
1 distant view flat none full court view noisy voices none panoramic overview
2 panoramic view→close view→panoramic horizontal push, panning judge speaks, and finally freezes the frame where Sam is after panning Noisy people in location
3 Close view level None Judge speaks None None
4 Panorama level None Jinjier in the gallery, assistants None None
5 Close
view level None Witnesses in the gallery None None 6 Panorama level None Witnesses with evidence None None
7 Close shots can't be surprised and disdainful
8 Panoramics No Witnesses speak with evidence No No
9 Close shot Ping no The judge ignored the witness and continued to speak. Noisy voices. No
10 Panorama. Ping no. Several people in the gallery were a little panicked. Noisy voices. No.
11 Close shots. When it came to the judge, the judge shook to the judge on the other side of the jury to seek opinions. The members of the jury expressed their opinions, and the final result was rejected. Noisy voices No. Still a shot with lots of content
12 Panoramic flat No Auditorium questioning Noisy voices No
13 no judge pack up and close-range level loud voices no
14 flat no close-Sam stood up and questioned loud voices, no shutter sound
15 close-range level without the judge to ignore the noisy voices no
16 flat no middle ground, sitting in the following expression governor pleasure noisy people sound without suggesting that this matter is causing the governor to intervene
17 close-range level without Sam wondered aloud loud voices no
18 flat no middle ground next to the judge to interview someone without noisy voices
19-22 are Sam and the judge questioned each other
23 middle ground level The governor without a side happily got up and left the seat. There was no shutter sound for
1 hour and 47 minutes. The character passed by the car, using Dissolve, and the car that had been parked was driven away. At this time, the background music-"Genesis" sounded, and the picture was still on location. But I immediately received the beginning of a TV show. The background music at the beginning was "Genesis". This scene is relatively lively. When Sam talks to the dancer, I thought it was still using a Martin's quick pan, but in fact it was a fake pan, because when the camera turned to Sam, it was already in an office. On the TV. In the office, the two people commented on Sam's show, and then repeated the same trick-a fake panning lens, switched to the show scene, pushed forward quickly, and pushed the perspective to the close-up. The next few sets of shots are constantly switching between the scene and the office just now. The languages of the two parties are opposite, forming a sharp contrast.
For 1 hour and 52 minutes, the confession confessed that they met in the desert. At first, it was a distant view of Sam alone in the frame. The next shot was moving forward quickly in the air. Because it was too fast, a helicopter should be used. The content is Niqi driving in the desert. The composition of the desert scene is very good, and the angle of the helicopter must be carefully designed. Over the desert, Niqi's car was getting closer and closer, until the camera swept over the car, and a picture was drawn from the lower left corner. This shot just ended. Nick's car was drawn into the painting again in the reflective sunglasses worn by Sam. The dust quickly entered the painting from the right lens and came out of the left lens. At 1 hour and 55 minutes, a very far view. Two cars in the middle of the desert have different directions. After picking up a closer view, you can see that Niqi first drove to the left and the dust from the back of the car gradually flew up. Sam rushed to his face, suggesting parting ways.
Before the end of the desert scene, the four drum beats of the music in the next scene began to sound, and a shot from a bird's eye view was superimposed. You can see the human head walking past the zebra pattern floor, and the pace of the pace coincides with the sound of the music. Sam and his party appeared in the restaurant, the light and shadow were very particular, and the top of Sam's head kept getting brighter and darker. At this time, the camera quickly circled to the other side. It was still the fast-moving and non-edited footage that Martin frequently used in this movie. Nicky and his party were drinking and talking, and they saw him. Nicky's gaze shifted to the left, and the next shot was edited. Sam walked forward and noticed Nicky. He looked to the right without any reaction, but the audience knew they were looking at each other. The light used in this scene is very particular. Almost everyone has a circle of light and shadow on their body, which should be light from the bottom up.
At 2 hours and 10 minutes, the camera slowly moved from top to bottom. There was an empty bed in the room. The next shot was a subjective perspective of Sam. He slowly walked from the outer room into the inner room. The distance from the back room is getting closer and bigger. After the subjective angle of view stopped, a follow-up shot, Sam's footsteps were very light, and he eavesdropped on Jin Jier's words. Before Sam entered the room, the lens gave a shot of the transparent glass window inside the room, and then turned the lens to Jinjier to make a phone call. At this time, Sam entered the room, and Sam’s defocused shadow appeared behind the lens, and Sam’s shadow gradually changed. With a big change, Jinjier looked at the glass window, found Sam without looking back, and stopped talking in horror. The two scuffled together, Sam dragged Jinjier out, threw Jinjier's luggage, the camera kept switching between low-position upside shots and overhead shots. Sam found a few bundles of banknotes, the camera gave a few close-ups of the banknotes, opened the door, and pushed Jinji out. After the sound of closing the door, the scene came to an end. Because the quarrel scene just now was too noisy, it seemed that the sound was completely pure for an instant.
At 2 hours and 23 minutes, Nikki drank and beat people, got into the car, and in Sam’s narration, he picked up a close-up of a straw. The angle of view of the two consecutive straws was very strange. The first one was a straight angle, a straw. With a light sweep, the white powder rushes into the straw. The next perspective is that the camera is inside the straw, and you can see the white powder enters like a wave. These two lenses are very exaggerated, and the "straw" should be a paper tube. But this part of the scene is composed of several parallel fighting scenes in the same place. The sound of gunshots and dead bodies appear in the center of the screen. The camera moves very fast, the editing speed is very fast, and the rhythm of the background music is also very fast. Very fast. After a character was shot and killed by the police, a flashback scene was arranged. The speed of the flashback slowed down. The camera freezes on the tool held by the deceased. A close-up can clearly see what he is holding. Not a gun but just a wine bottle. In this night scene, Martin used a lot of overhead shots, like a god’s perspective, and the audience looked down on all beings. At 2 hours and 24 minutes, Nikki took his subordinates and shot randomly on the police house. The editing speed of the footage was extremely fast.
Starting at 2 hours and 31 minutes, Jin Jier first made a fuss in Nicky’s room. At first, the camera satisfactorily photographed the conversation between the two in the room, and then turned into a straight-angled perspective to show the process of Jin Jier's fight and mischief. The camera downstairs turned into a camera outside. From the outside, seeing how Jin Jier was thrown out, the back view was very hateful and pitiful. This cutscene is also to prepare for another small orgasm in the near future.
At 2 hours and 33 minutes, the film began to enter a small climax. An overhead shot of Jinjier appeared while driving the car, and then cut it indoors. Sam saw from the window that Jinjier deliberately ran into another car while driving. The camera was constantly shifting between Jinjier and Sam. The overhead shot was taken. Jin Jier's white car swayed around in the yard. Jin Jier got out of the car, and the camera was frozen on the windows of several other families. People appeared in front of the window. Some took out binoculars and cameras. When the camera was frozen on the window of her house, her daughter sat by the window and watched. , Implying the mother's negligence and rogue. The camera turned to one side, and the police car gradually approached the camera. At this time, the camera was switched between Jin Jier and other people. The crowd watching upstairs gave the camera a close-up. A few freeze frames indicated that the camera had taken the scene. The camera turned back to the main character. Wonderful. Sam allowed Jinjier to enter the house for 5 minutes, and the camera was pointed at many cameras. The close-up shot and the shutter sound were combined to freeze the frame into several photos, deliberately giving a close-up of the face of the daughter by the window. From Jin Jier up the spiral staircase, it is another long-time motion lens, constantly moving, giving close-ups of hands, drawers, knives, and keys at any time, and filming Jin Jier and the scene in different scenes. At 2 hours and 37 minutes, the conversation between the police and Sam at the gate of the yard was very calm and calm, controlling the rapid pace just now. After the tempo slowed down for half a minute, the camera returned to the room. Jin Jier hurriedly took things, shouted, talked, and turned things around. The tempo immediately became tense. In this scene, Sharon Stone performed very well. Jin Jier walked out of the house, used a quick pan, Jin Jier drove away, and the scene ended.
At 2 hours and 45 minutes, in the corridor of the hotel, the lens was slightly to the left against the wall. The camera pushed forward all the way, and the pushing speed was relatively slow, until Jin Jier came out of a door, and the camera pushed forward a little bit. When Jinjier’s face was very close, he began to pull back. At first, the light at the door was gone. Jinjier walked on the wall. There was no light on his face. There was pitch black around only the outline of the characters. Jinjier walked forward and the camera moved back. In the process of pulling, the characters always shuttle between light and darkness. At a dull doorway, Jinjier fell down and the camera freezes.
In the last shot, old Sam writes at the desk, takes off his dark reading glasses, and looks at the close-up of the lens. The background music plays. The epic sense is sublimated.
Pulling this film realized the essence of Hollywood's "seamless editing". I wanted to watch and count the shots one by one, but I often watched it and entered the plot, forgetting the original purpose. Martin can indeed play seamless editing. In "Martin Scorsese's American Movie Journey", the director said, "I can make the climax of this scene one after another. Junk director. A movie full of climaxes is like a necklace without a string, which will fall apart.” This is a good word, but personally think that the rhythm of this film is still a bit poor, and he is still in line with the principles of his own interpretation, highs and lows. The levels are distinct, but the film is still inevitably procrastinated. There are more than a few scenes. For example, they stare at Niqi until the plane is out of fuel. For example, it is not necessary to set Niqi and Jinjier to fool around, and the effect is very small. The characters are well portrayed, especially the female number one Jinjier. Feature films are prone to redundant problems, not to mention the way the film is confessed in such a way that viewers can easily feel procrastinated. In terms of rhythm, it is no better than "Angry Bull" directed by Martin himself, the structure of the epic feature film is no better than "Once Upon a Time in America", and the protagonist's ability to confess to advance the plot is no better than "A Clockwork Orange." Although "From Casino to Casino" is a good film with outstanding shooting skills, it is by no means a top-notch film.
2011.1.13
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