the screenplays of the screenwriter did not reflect the history of crew, only the status quo of cooperation and mutual care. Neil speaks up for his brother after Chris and Charlene go wrong; Chris's affection for Charlene; Charlene warns Chris to let him escape at a critical moment; Trejo asks Neil to kill him, the integrity of these people partly explains why They cooperate smoothly and trust each other. Not the past to explain the status quo of their seamless cooperation, but the display of humanity in the course of the crime to explain.
Act 1 Ⅰ . (0000) Neil enters the city - Chris buys explosives - Vincent's family relationship -
Waingro and Michael appear / commit the crime -Chris and Charlene quarrel -Vincent learns that dynamite can't be traced -Vincent and Justine rub off -Neil meets Eady -Vincent threatens informant to give clues -Neil talks about new business -Nate and Van Zant talk about buybacks -Neil talks about Chris' housework &30 Second Exit Theory & The Importance of Charlene to Chris & Action Plan - Donald enters the store to start work - Neil and Van Zant call - Neil persuades Charlene - Vincent gets important information about Michael - Rush after a failed delivery in the parking lot - Neil drops Van Zant ultimatum
Ⅲ. (5257) Neil's group dinner - Neil calls Eady - Neil's group goes out and is followed by the police & the next target (when these guys walk out the door) - Waingro kills the prostitute - Waingro picks up the job - Vincent party - The prostitute is killed Killing scene-Vincent and Justine trying to clear up their problems-Donald's girlfriend came to pick up Donald-Neil and Eady reunited to talk about elopement-Lauren on the side of the road in a daze and said that she wanted to be alone and was caught and picked up by Vincent-botched precious metal robbery (back to work)
Act 3
Ⅳ. (011450) Neil and his gang meet after the incident/continue to the bank robbery-Vincent finds Charlene's boyfriend-Neil's gang pretends to investigate the site-Vincent and others are secretly filmed-Neil & Nate exchange information in the car-Vincent and Justine are in a cold war- Vincent and Neil drink tea - Police lose Neil's gang - Neil prepares at the bank - Van Zant approaches Waingro-Trejo for Donald-Eady and Charlene - Bank robbery - Robbery follow-up
V. (015439) Chris at the veterinary station (I'm not going without her/ I'll see you at Nate's. Both sentences could be a little more pun intended to imply Neil's final fate) -Charlene calls her lover- Police order Charlene's lover - Neil to check Trejo - Neil calls Nate - Vincent finds informant - Neil seeks revenge on Van Zant - Charlene enters police trap and police mediation - Vincent uses informant to set up new confrontation with Waingro Neil's trap - Neil goes to get his girlfriends Eady-Vincent and Justine fallout - Neil gets the paperwork ready to go - Neil and Eady discuss at the beach - Chris comes to Charlene-Vincent to check on the Waingro Hotel and leave - Vincent found Lauren in the hotel-Rescue Lauren-Vincent and Justine to comfort each other-Neil was on the way to escape, he gave up escaping after receiving news-Neil's revenge-The final battle
kind of pure commercial/personal heroism films will be grandly opened at the beginning All the protagonists are presented one by one according to a certain rhythm, but such a more literary (?) police and bandit film will not have this sequence. At the beginning, only Neil enters, Chris has one or two shots, and Vincent's family relationship; the others, Michael, Trejo, including the villain Waingro, all enter by the way as the case unfolds. Weakening the personal aura and strengthening the story itself. Because this story emphasizes a certain sense of destiny, and the character appearance sequence will have a personal aura and convey a strong entertainment.
After committing the crime, he went directly to the delivery site, rather than directly visiting Vincent to investigate the scene. If the latter is arranged in this way, the conflict between the police and the bandit will come earlier; it is through the buffering of the transaction scene that the rhythm is slowed down, the distance between the police and the bandit is increased, and the conflict is buffered. In order to allow the rhythm to have more room for improvement in the back.
Why are Neil and Eady new to each other? The new acquaintance will have some unsolvable problems. The most obvious is that the relationship between the two is developing so fast, and Eady is so determined and unnatural; what is the purpose? unknown. Maybe it's to form a certain distinction with other people's wives and girlfriends, to increase diversity, and to add a romantic chance encounter. It seems that dramas such as one-night stands and pick-up conversations are very important, and they have to be forced to spend such a big price.
Liquidating Waingro but being escaping a scene leads the emotional turn, especially the look of the last Neil looking at the empty parking lot, and the beginning of the next scene where Neil puts his pistol on the table, implying the end of the conflict, from the front From the intense tension to the sadness, confusion and frustration behind, it is for both parties. Neil and his gang had a dinner together, and the emotions, career, including the police's pursuit and interception, all entered a new stage.
It is impossible for Chris and others to not know that their whereabouts, including that of his wife Charlene, have been monitored by the police. Go back to find her. The logical loopholes here must be covered up. So when Chris told Neil he was going to find her, Neil simply said, think about that. We are all over the 6 o'clock news. Without explaining their situation too much so that the audience wouldn't notice. This is a cover-up for a logical loophole. And, more importantly, when Chris said he was going to find Charlene, he wasn't conscious, and the audience understood more of his affection for Charlene when he was delirious, rather than going to her backside. Too logical; and when he actually went to her, things had already happened, the car had already driven downstairs, the audience's attention was attracted by the scene factors, and it was too late to think about the rationale for Chris to go to Charlene . Therefore, the methods to cover up some logical loopholes: 1. Let the protagonist hint at his decision when he is not sober, and let people focus on his feelings rather than his logic. To go to Charlene, it is easy for people to realize the flaw; 2. Putting the moment of decision outside the camera, people have no chance to think about the rationality of the decision itself.
[0420Chris took the goods away] After taking it away, I saw the word "explosive" at the end of the package. Demolition was also mentioned in the previous invoicing. Reduce information to a minimum.
[0432 Vincent makes love with his girlfriend] The ending is separation and loneliness, and the beginning is lingering and intimacy.
[0535Justine After the Smoke] Close-up, cigarette lighting, overflowing expression. If she wants to drink coffee, if she wants to be rejected, she must first pave the way for her happiness.
【0725Waingro asked for refill and left without taking it】Why do you want to refill and not drink it? The crime started when Waingro walked out of the toilet of the snack shop. Why? He was the crux of the problem, and the reason Neil's revenge went nowhere in the end. Strengthen him from the beginning. If it is weakened, it makes people feel that he is a small character at first, and then suddenly makes trouble, it is like a suspense movie. The screenwriting strategy of this film is to spread all the important information as soon as possible without leaving any suspense.
[0834Chris turns on and off the radio] do-then-quickly-undo reflects the tension of the client.
【1133 Countdown】Strengthen the sense of tension. Foreshadowing of the conflict behind. During the robbery, everyone was unidentified because of the mask, and it was uncertain who was who, including the person who shot and killed the guard at random, who was also unidentified at first. So there will be some confusion here. Maybe get him to use a different gun, or have a tattoo on his hand, or have a mantra, or a hairstyle. But it's too obvious that it will become the focus in itself, making the audience think that something will happen and it will be a distraction. In this case, how can the difference between robbers and robbers be reflected without causing people to misinterpret "what does this symbol mean"?
[1430 Bond Background] Create a more evil duplicitous robbed. center of good. Because this is a cop and gangster romance movie, neither cops nor gangsters can be used to shape the center of good, only the robbed, the unreliable new accomplices, the unreliable police companions, and the unreliable biological father.
[1656Vincent Judgment] Through Vincent's professionalism and his evaluation of Neil's group, two Centers of good were established. Two respectable professional forces. Big V hold each other.
【1917 Eye Warning】Increase and environmental tension, add details, slow down the rhythm. Slow down on big things.
[2010 Execution Failed] Made an unforgivable mistake, and had to quibble, anger the audience, and make the execution seem reasonable. But the logic behind the analysis, where and how the executions took place, also appears reckless. It feels like it could be redesigned.
[2203Chris and Charlene] Similarly, for the final separation, the relationship between the two was intimate at the beginning. Dominick is an important plot in the back, so it was mentioned in the first quarrel.
Not enough money/flirting (unconscious) - ask/explain - you're not worth it (you) / stop talking and get dressed (avoidance) - don't talk to you, you're a child (shutt down & passive aggressive) / what do you mean (come on) chat) - we didn't make progress you're a gambler (us) / get in the fucking car (be honest) - what's the point of me continuing (me) / then you fuck off (if you're not honest) - I want Dominick( I & take something else) / don't think it's impossible (no way) - see what you can do (confrontation) / break the table and leave (confrontation) - the child is crying (mess) / drive a car (mess)
[2400Vincent and Justine Friction] Concerned/Is my ex-husband here (don't say myself) - didn't come (follow) & we've been waiting for you for a long time (pull back) / Does my ex-husband care (don't say myself) - speechless/scolded ex-husband & asked the child (don't say yourself) - the child is not good (follow) & I am not good at cooking, you don't come back to eat and you still shrink (pull back & accusation can't be avoided) / I am dead here and you still talk about cooking (go back) - Leave/reluctantly watch TV. I try to take Vincent as much as possible, but I can't get nothing, I really have no choice but to go.
[2559Neil&Eady Hook up] The lines are so dry, how can sparks be sparked apart from asking about their respective jobs, checking their household registration, and telling a Fiji jellyfish cold joke that we are lonely, so it's too scary to do it. Except for one thing, keeping Neil's alertness. The screenwriter's possible attempt: It is through the boring dialogue between the two that reflects that people do not choose food in a state of extreme loneliness. If so, then the director's biggest mistake was adding background music to this passage in an attempt to steer it in a romantic direction. And the correct treatment is to be shown naked? But there will be new problems when dealing with it this way. At the end, there will be no tragic sense of parting in the scene where Neil leaves Eady? The comprehensive analysis is that the screenwriter did not want to be romantic, but the director had no choice but to break the script and let the actors support + green screen + music.
[3803Neil and Chris] It's rather boring overall. Seeing Chris (Why is he sleeping instead of being in a daze? Making a reason to call?) - Calling Charlene (What is the meaning of the phone call? Foreshadowing Neil's involvement in members' private lives? If Chris is sleeping for this phone call, it's really deliberate) - What's wrong/ When are you going to buy a home (selling off & Neil's life status) - and then / Charlene is leaving me - why / making less money - is this not enough / gambling & when are you getting married - and then & is there anyone out there / not fixed - is there anyone out there for her /No (behind the foreshadowing)-Are you sure/Are you sure-I don’t know what you’re thinking/She’s important-Is it/Yes(Real temperament, write the bad guy)-Ok & get the money today and a new plan/What plan-Explain Do you want a plan & coffee? (Dots at the end)
[4050Donald and his wife say goodbye] The first scene of most of the characters basically starts with getting close to their lovers. But it doesn't make sense to use it too much. Donald kissed his wife in the first scene and then left. It was difficult for the audience to feel immersed in their feelings, and there was no pain of separation later. Little characters have few scenes, maybe just one or two shots, but also let the audience feel their relationship with their lover, at least it's not handled well here. Is there any other way? Donald's intervention is to fill in the void of Trejo, which is of little significance. In fact, it can be considered to delete the whole.
[4540Vincent chatting with Albert and his brother] Vincent and nightclub security are familiar with entering the house (continue to highlight Vincent's professionalism, sometimes professionalism or a person's admirable level can be achieved by his recognition of three religions and nine first-rate) - Richard thinks Let Vincent get rid of the car thief-Vincent points out his agenda-Richard doesn't admit it (let the supporting role resist first, and is exposed by the protagonist)-Vincent let him speak quickly-Richard said how did I know you would do what I want What you did - Albert persuaded him to tell him that Vincent was safe - Vincent pulled Richard's shoulder and threatened with force (and then blatantly resisted and was trampled to death by the protagonist) - Richard said I said he would die - Vincent said you would die if you walked the dog (Finally twisted and humiliated by the protagonist. Start dinner again) -Richard babbled a clue that sounded uninteresting -Vincent scolded and got up and left (the dinner was not amazing, and finally teased patience) -Richard mentioned To the slick (the previously buried clues are brought up here inadvertently; the deeper the clues are buried, the more quiet they are) - Vincent is interested enough to let him finish, and hears Michael's name.
[4924 Parking Lot Rush] Negligible(?) Logic loopholes: In the face of a gang of gangsters, Van Zant sent a driver and a gunman to try to settle it. Likewise, loopholes can be masked by making decisions off-screen.
[Phone 5240] Van Zant, knowing that the action failed, pretended to ask Neil is everything ok. Deliberately used such details to write Van Zant as a worse person and create a center of good.
[5444Neil's group went out and was followed by the police] "when these guys walk out of the door of whatever scores they are gonna take, they are going to have a surprise of a lifetime." Take a stand and wait for subsequent episodes to prove or refute the general thesis of the sentence. Just like writing a text with a central sentence, the following paragraphs are based on this sentence.
【5840Vincent Party】Vincent and his group of brothers are having fun with friends and girlfriends, Vincent is about to leave after receiving the case. Same routine. Happy reunion first, then separation.
【010150Vincent and Justine】Why don't you let bosko take you home/I don't want them to be disappointed (loaded) & what-don't ask/I want to know what you're thinking(loaded)-I can't say you know , let's go / You didn't say I'd be isolated (didn't make it clear in advance that it will always be part of accumulation) - I told you I'd share with you / I thought it was a share, this is not a share, this is leftovers (don't steal it Concept) - then share (put what the other party wants on the table) / you still like to go to bed without saying anything and shut up (put what the other party wants on the table) - I need to internalize (explain) / pause, are you Live with the dead (there is always a pause before death punch) but I don't understand why I can't leave you (go deep is a killer after arguing)
【010432Donald and girlfriend Lily】Let's go, just met the manager/injustice( Create the center of good, and the foundation that will be mentioned later) - Can you persist until the next job/There is nothing that can't be persisted (the more you keep talking, the sadder you are) - Feel sad but still smile / Why are you with me Together (unsure about relationship) - proud of you / ironic - go home / scrutiny and distrustful eyes (plant seeds for another vote later)
This scene is to bury the seeds and explain why he wants to go to Liangshan again. Going back to Liangshan is not necessarily just because the world has abandoned him, but also because the most important person cannot give him enough support and tolerance, or make him doubt.
[010739Lauren was in a daze on the side of the road and was caught by Vincent and brought home] The purpose of this scene is unknown. Do you want to foreshadow that Lauren is in a relatively bad state of mind now? And she trusts Vincent?
[010920] In order to give the erring policeman a chance to show his face, let the policeman squatting outside contact him and ask him to speak to Vincent. First, he had the opportunity to show his face. Second, Vincent immediately told him not to use the radio and gave him a slap in the face, making it clear that this person was an airbag and a bad person, so that the audience could then vent their dissatisfaction on him with confidence and boldness. . A scapegoat just came out of the oven.
[011337 Vincent decided to release him after arguing with his subordinates] Before accepting and facing an unalterable and cruel reality (no one gets all the money), first force the protagonist (Vincent) to deal with an urgent problem (controlling his subordinates and not letting them in) He doesn't care about the arrest first, then after dealing with the problem, he will come back to accept the cruel reality (no one will let them go with all the money), vent and release his emotions. Similar methods are also used in The Martian. Before Mark faces and accepts the destruction of the vegetable field, he must first deal with the immediate problem of the hole in the helmet and the air leakage, and then come out to see the tragic vegetable field, instead of coming out directly after the explosion. Look at the tragic vegetable patch. This tragic reality is more impactful.
[011445Vincent let everyone go back to work] "back to work" transitional sentence, this part ends, indicating the next part.
[011500 Neil post-event meeting] Where did the police come from - maybe it's not us - assuming they're watching - where to find the advance - I'll pay first - what to do with Van Zant - don't think about it now - I want my money - I Wanted too but now is not the time we have to decide whether to do a bank or break up - Chris does - see Michael - Michael hesitates and says I'm messing with you - not this time, you decide - is this the best decision - it's worth it for me , not necessarily to you - see Chris, I do - Trejo agrees - lol, there's a lot to do.
The phrase "a lot to do" is also a subtitle. Subtitles are important.
[012200 Neil & Nate exchange information in the car] There must be steps to apply pressure, blow the wind and hesitate before crossing the threshold.
[012851 Neil & Vincent drinking coffee] Prison record (black history) / nodding (let you do a trick) - is prison fun (loss) / do you want to be a prison scientist (loss) - do you want to go back? I arrested a lot of people (threat) / What you are doing is stupid (both offense and defense) - you have caught everything (increasing the threat) / Do I look like a loser (knowing that the opponent is a fan of myself) - not like (you win) / That's right & I won't go back Yes (victory declaration) - don't do anything (speak up) / we all do what we can (can't help ourselves) - live a normal life (other possibilities) / BBQ and play football (rhetorical question & sarcasm) - yes / you Come on (grab the weak spot of the other person's bad life) - my life sucks (you win) / 30 seconds theory & you don't even want to live a good life (victory declaration) - interesting & are you a monk (you It's not much better)/There is a woman (it's okay)-how to tell her (how to do it)/It's a salesman (there is a way)-will you leave without saying goodbye (how to deal with it)/yes (can deal with it)- Empty (that's what it is) / Then I can only do something else (or what else) - I won't do anything else (also) / I won't (also) - I don't want to (smile) / I don't want to either (smiles) - dream about the silent dead (personal) / dream about drowning and having time to do what you want (personal) - had a good chat but still shoots (then we are still enemies) / me too (same) -Maybe it will be like this (it's all life)/maybe never again (maybe not so bad & faint smile)-(faint smile)
[014138 Bank robbery, this time the police responded as quickly as they received the alert To the scene, obviously faster than the first robbery. ] Although the reaction speed is obviously faster than the beginning, the audience will not notice or object, because just like the game level, the audience automatically expects that the difficulty of the next level will increase without taking too much care of logic.
[015357 Follow-up to the robbery] embodies a tactic: first write the protagonist and ask for a glass of wine, wait for something to happen during the process of drinking, and then the bartender can face a brand new protagonist when the wine comes. Boomerang. Demonstrate the change in protagonist by throwing and receiving the boomerang from the expected difference, with echoes before and after.
[015439Chris at the veterinary station] When the veterinarian was robbed of clothes, he deliberately said one more sentence: my daughter gave it to me. It seems that the lines are not very thoughtful, and it is estimated that it is a stylized "don't let the process become too much." successful" and added.
[015623 Charlene calls her lover] Do you still want me? After the phone call, I said two words, god damn you Chris, in order to show my true feelings for Chris. In order to create the center of good, Charlene's lover was shaped into a bad boy.
[020115Vincent went to find the informant] After a fight (is the purpose of the fight because there were too many literary dramas before?)
[020535Vincent used the informant and Waingro to set up a new trap for Neil] All lines. Finally, V said: "He is here. Neil is still here. I can feel it." As before, it is a transitional line connecting the next scene. But if you follow the original paragraph, this concluding line appears in the middle of the paragraph.
[021006Vincent and Justine fallout] It's ready, Vincent. A particularly formal title, also to express a sense of alienation. Continue to create a center of good, and describe Ralph as a bad boy who dares to be fooled.
"Don't you even get angry?" The traces of finding fault are too obvious.
The TV setting is very interesting. It symbolizes that Vincent's presence in this home is only equivalent to a small tattered TV, and it is enough to remove a tattered TV when he leaves. It shows that he doesn't exist here at all.
[021507Chris comes to Charlene] This scene has logic bugs, but how exactly did it get past it?
The police who have been monitoring Neil's group for a long time have not released their photos for arrest. Even the police officers on duty at the intersection have not seen Chris's photos, so that he can get away with his fake identity? Because from the beginning to the end, there is no real emphasis on the police propaganda about the photos of the four people. Even if the police will do so logically, as long as there are no similar scenes, the audience will not have time to think too much under the tension of the plot. Or, by ingeniously touting each other between the police and the bandits, and pulling both parties to a high position, gaining the audience's trust and professionalism, so the audience will not immediately think of questioning the police's actions? Or is it actually a cultural subconscious that we have acquiesced that American police are professional? If it is the same Chinese film, which depicts Chinese police, can it also be recognized by Chinese audiences?
Scene part
[Opening: The train is approaching and moving away, stopping at the platform. ] The introduction from far to near, but it is not a straight-up introduction, but a start-pause-restart, a gradual entry with a sense of cadence and rhythm. If the train goes straight up, and the train enters the station to pick up Neil and get off directly without the middle of the train going away, then the rhythm of the entry is too fast to convey a sad atmosphere, but it will falsely imply to the audience that this is a very fast rhythm. Strong traditional commercial.
[Steam by the Railroad Tracks] Locomotives, steam engines, industry, implying industrialization, alienation and alienation of people, and highlighting the sub-themes of the film: people's dedication to high efficiency, career, and alienation from family affection.
[Neil walks out of the carriage and walks into the picture, with a woman waiting in the background] The protagonist walks into the camera, not directly on it. the difference? Directly illuminated, the character is still, passive, contemplative, framed, and directionless; walking into the lens, the lens is still, the character is moving, breaking the frame, intruding, active, target clearly. The intrusion of close-up/close-up shots can especially strengthen the dynamic and strength of the intrusion.
[0353Chris Payment and Delivery] Close-up over the shoulder, someone flashes in the foreground, enhances the fluidity and sense of environment of the picture, and enhances the sense of immersive scene.
[0602Vincent leaned over to look at Lauren from the door] Vincent was at the door, with a white wall on the left and right, this picture appeared several times; lonely, alienated.
[0630 Dispute between Justine and Lauren after they couldn't find the card] There were only two sentences "I can't be late." "No I will be late." to Lauren, and the rest were Justine, from reading the newspaper indifferent to hugging and comforting. The audience followed Justine, from being relaxed and at ease to being overwhelmed, and the mood changed. And Lauren's mental state can be summed up with just one expression in those two sentences. Since there is no change, there is no need to keep following. The perception of the audience follows Justine, so it is necessary to follow Justine's expression more.
[0817Neil and Chris waiting in the ambulance] The shot for Neil did not include Chris, causing the close-up of Chris tuning the radio in the back to lose spatial relationship. Maybe it would be better to shoot Neil and Chris from the back seat, from the side and back, and only give the back side and back side, not the front face, leaving some suspense and letting the boss hide in the shadows?
[0827Trejo tracking the cash truck] First go to Trejo through dialogue, and then explain Trejo's goal. Of course, it can also be reversed, first explain Trejo's goals through POV, and then switch to Trejo, but this seems to be a suspense movie style. There may even be a walkie-talkie sound first, but the picture is of the driver and guard in the cash van being tracked, and then through the rearview mirror or pull focus to the Trejo. What is the effect of this? In any case, this way of going directly from the walkie-talkie to the walkie-talkie is the most direct and clear, and minimizes the unclear suspense.
[0834Chris turns the radio on and off] The nervousness is intensified with a slow dolly in.
[0927 High-speed movement of heavy-duty vehicles] Wide-angle sticking to the ground, reflecting speed.
[2125Neil went home for contemplation] Cold, empty, blue, villa by the sea, only glass and smooth surface table, put down a gun and a bunch of keys. Emphasize loneliness. Maybe it would be better to have no glass frame in the picture? And the complete emptiness seems to be too deliberate, adding some furnishings to make the interior more natural, but the furnishings themselves reflect loneliness and loneliness, would it be better? The desk lamp on the left should be an omission. Either way, the glass guardrails on the outside should be removed. Or just outside guardrails. The composition is not clean enough, not right, and I don't like it. The sea level is deliberately flush with the top edge of the glass guardrail.
[2152Chris and Charlene] big house and swimming pool tell everything. Apart from that, art doesn't seem to do anything else. When Chris kissed Charlene by the pool, the pool light was deliberately hitting him.
[2400Vincent and Justine rubbing] Vincent picked up a chicken leg and glanced upstairs, which well predicted the relationship between the characters in space. After the conversation ended, he glanced upstairs and continued to show the relationship between the two. Justine's face has a light and everything else is black. It is very interesting that the painting on the background wall is also a person with only a light on his face. Curious about the story?
[3159Vincent asked the informant] After Vincent entered the room, Ped up and tried to give slum a bird's-eye view. But cut a little faster? The process of walking in Slum can help build up your emotions. Especially dogs barking. Vincent pushed open the door inside and pointed at Albert. In the next few shots, Vincent, Albert, Sgt. Drucker's spatial relationship was not well emphasized and was rather chaotic. Use the surrounding people fleeing to imply what the people in this place are from, and what Albert is from.
[3803Neil and Chris] Schedule with brewing coffee. Go into the house to make a phone call, get a kettle and a cup, and make coffee. A sequence of actions is guaranteed to keep the action in the phone Charlene. After all, the amount of information on the phone is small and requires visual stimulation. And from pouring coffee to serving coffee and sitting back in the chair, it just revitalized the atmosphere when Chris answered the embarrassing question of "what's the matter with you". If two people are sitting there talking, it will be too heavy, no man, mother-in-law and mother-in-law. But the subsequent dialogue still has to sit down, after all, it is affectionate. After Chris put down the coffee, Neil started talking about the Heat Theory and Chris started smoking again.
[4540Vincent chatting with Albert and his brother] Albert and Vincent had a jump axis after shaking hands, so the spatial relationship was chaotic. When Richard introduced his clues, Albert nodded frequently to the side, paving the way for Vincent to attack him later.
[5247 Tel] Neil's face is uniform light, and Van Zant's face is yin and yang.
[5300Neil's group dinner] After a table full of people, let waiter pass in front of the camera, which is easy to control the rhythm and increase the dynamic of the picture. After the full shot, Neil had coffee first, to determine the perspective, emotional point and narrator of the scene, a man who looked at the joy of the family and lost his senses. Every two or three shots of other people, it goes back to Neil's partial solo close-up, including hanging his OTS and POV. The others are in groups, and the only shot of him is one person. What can be done better: The spatial position is explained more clearly, and POV and OTS can be more clearly seen in each shot. There are still some shots that don't seem to be Neil's POV. Lessons learned: If you want to emphasize a person's perspective or his feelings in a group portrait, close up him, everyone else is a group portrait in threes and twos, and all are OTS or POV from his point of view.
[5351Neil calls Eady] The warm colors of Eady's house and the cool background of Neil's phone make people desire to go to a warmer place.
[5927 The scene where the prostitute was killed] tilt down and follow Vincent's car into the scene. Tiltdown or ped down have the feeling of bringing the audience to the scene and entering the scene. There is a pool of blood in the pool in the corner of the camera, suggesting the situation at the scene. The camera moved with Vincent, and by the way, it swept to the on-site advertising sign, which was a hostel. At the end of the shot, Vincent stood silently and helplessly under the street lamp, guiding and setting the audience's emotions.
[010739Lauren was caught in a daze on the side of the road and was picked up by Vincent] From the panoramic view, it was the sunset light on the left of Lauren, but the close-up of Lauren's front was the hair light on the right, that is, there was a hair light in the direction she was looking. The purpose of adding this light? Show her the direction of hope and warmth? Like she's expecting something good to come? Or is it just a simple principle of far-side face lighting? By the time Lauren and Vincent were talking face-to-face, it was natural light, and now the bright light was on the far side of the face.
【011107 Indoor dripping】Is the effect of dripping water intended to suggest a lurking danger? If you just come in and do it, the atmosphere and rhythm seem to be wrong.
[011224 Neil hears the movement] After Neil noticed something was wrong, the camera switched four times on the faces of Neil and Vincent, who were staring at each other nervously. They were all frontal close-ups, one-on-one. Before Neil makes the move away, the fullshot inside the box car, Vincent and Sgt. Drucker look at Neil on screen, and then also the motion cut, Neil on the screen moves first, then cuts a close-up of Neil moving. Is it possible to draw such a conclusion? To break the cycle, change the lens angle.
[012103Vincent was counter-reconnaissance by Neil] When Vincent praised Neil's group to himself, he shot up. If you want to support another group of people, you must first support the people who support them. Moreover, there is a large hanging tower in the background, echoing the content.
The shot of Vincent running with a shotgun in the middle uses a wide angle, not a telephoto that compresses the space. It felt like he was running faster, but the whole body was in an empty and lonely space with no echoes, and the feeling of being isolated and helpless was more obvious.
[015650Neil went to Trejo's house to see the situation] When Neil entered the door, one of the lights on the door was lit, probably to let the audience understand the environment. If it's all black, you probably don't know where this is. There were also lights coming in from outside the door, probably to draw the lines of Neil's face. Plus, Trejo and his girlfriend are in that direction, possibly guiding the audience's expectations with light. The two-step road in the middle corridor was completely dark without any light. It should not be intentional but a mistake. The pitch black here does nothing.
Rule: When shooting with a person, if he sees something, first give him a frightened expression, then give him a back shot from the object he sees, and finally close up, but don't close up from the angle that followed him before. up.
Neil turns and leaves the hallway to the next room, waiting for Neil to leave the shot before cutting a shot in the hallway.
[015800 Neil and Trejo's final dialogue] Interestingly, Neil's close-up is not Trejo's POV, but from the side, which causes Neil's face to be sideways. Although it will be inconvenient to watch, it will prevent the audience from being overly immersed in Trejo's situation. At this time, Neil's position is too dominating. Trejo's POV will not make the audience sympathize or feel sorry for Neil, but feel for his position. Fear and anxiety. So at this time, a close-up shot from the side is used, so that the audience can feel Neil's emotions quietly on the side.
[022155Vincent found Lauren] After Vincent entered the house, he gave a close-up of the water stains on the carpet.
When Vincent left the balcony and turned back to the living room, the camera stopped on the balcony and did not move; but when Vincent noticed the water on the ground, the camera started to catch up. rhythm rhythm.
When Vincent came home, he didn't find Lauren in the tank directly, but let him relax for a while in the house and on the balcony, and then saw Lauren. This arrangement should be to calm the mood. In the previous scene, Vincent was still in a state of extreme irritability and disappointment. He ignored the police station and drove angrily. He kicked the TV directly into the middle of the road; if the next scene directly followed, he saw Lauren commit suicide. , the emotions will conflict and dissolve with each other. These two steps to calm down the mood are similar to eating shredded radish in the middle of Japanese food, or smelling cotton clothes while drinking coffee, which is for clearing the mouth.
The moment Vincent pushed open the bathroom door, the camera was tilted. Also to highlight a certain unexpected and chaotic mood.
[022535Neil on the escape road] A dark elevated road illuminated by car lights. Saying you don't care. The moment he put down the phone and said home free, he carried Eady into the bright tunnel, a piece of overexposed white, which may symbolize that he entered heaven in a short moment, forget hatred, and go home. During the process, there is a close-up shot of his profile, his expression does not have any specific direction, it does not look like the joy of going to heaven, nor the anger haunted by hatred, nor the entanglement and struggle. Expressionless, completely neutral, it plays a transitional role. Instead, Eady looked happy. After exiting the tunnel, his expression became strange, and it could be seen that his inner drama was very serious. Niubi, there is ridicule, self-deprecating, struggling and hesitation, and anger, and finally freezes in anger, and then turns the steering wheel and goes off the main road, rushing for revenge. The ramp is sloping downward, with some foreshadowing.
[023208 Conversation between Vincent and Justine before they parted] After hearing the negative answer, Justine pouted, her eyelids drooped, and she shook her head. This action should be in the disappointment and endure the disappointment will be there. learnable.
[023635Vincent Appeared] Followed the crowd first, the crowd flowed in one direction, Vincent suddenly emerged from the crowd, facing the camera in the opposite direction.
[024144 Last Battle] The relative relationship between the two was very confusing.
transition section
[0200Neil got off the car - got off the elevator] The front camera Neil didn't come out, he was cut, a little stiff, and he couldn't connect to the back; how to deal with it better?
[0249 Jump axis] The previous shot is from right to left, the next shot is from left to right, and a subjective lens is passed in the middle to observe the shot of the doctor on the left side in the forward direction being overtaken from the front to the back of a pan shot, which is equivalent to The audience has established the concept of "although the protagonist is not in the picture, but he is facing the right at the moment", so the next shot can be turned to the right. In this way, if the main actor is no longer in the shot that needs to be skipped and is not ready for skipping when shooting, then you can make up for such a shot. Niubi.
[1336 Evacuation from the scene-transaction] A big change of scene and time, using truck, first the environment, and then the two people who moved to the transaction.
[2319Chris drives an angry car-Vincent answers the phone] Outside the car-inside the car
[2352Vincent in the car-Vincent in the house] Transition with a car in the middle. Otherwise it's too sudden.
[3159Neil left Easy-Vincent and asked the informant] Vincent did not use a close-up shot with a large range of motion but a panoramic view, and the car went from far to near. Because the last game was a relatively mild emotion, so here it should not be a violent action, but should be moderate. But here may be a problem with the screen orientation. After Sgt. Drucker got off the car, he pointed to the right of the screen, the next shot immediately jumped the axis, Vincent walked to the right of the screen, and there was almost no shadow of Sgt. Drucker in this shot, so it may be difficult for the audience to realize that there are two people here The meaning of outflanking. It's better to delete the shot of Sgt. Drucker pointing to the right, get out of the car and split up and keep the panorama all the time, but it is easier to figure out the spatial relationship.
【3803Nate and Neil-Neil and Chris】? Cut hard, with Neil on the front and back. If Neil in the backcourt can be seen clearly from the beginning, it is a jump, which is difficult for the audience to accept. So Neil in the backcourt was in the shadows at first, the audience didn't know who it was, and they were still guessing. When they realized that it was Neil, the transition was completed and the jump was forgotten.
[Colleagues from the 4925 police station report Michael's case - parking lot delivery] Hard.
[011123 Police in the box car - Neil walks out] Momentum clip, on the police monitor, there is a door opening action, and then switch to the outside along the action. The same method was used by the policeman who later Neil retreated into the shadow of the corner and cut into the box car.
[012200Vincent leaves the plotted location - Neil and Nate exchange information in the car] From the details, first Neil takes a close-up of the negative film, then a panoramic view outside the car, and then goes back to the car to talk with Neil & Nate. When cutting from the outside to the inside, use the sound of Neil shaking the negative film to connect, indicating that he is the person who took the negative film in the first shot (the sound is used to achieve continuity)
[012638 Vincent gets off the helicopter] Naturally skip a certain distance, and can be in two spaces A subjective shot or close-up in which the spatial relationship is relatively ambiguous is interspersed between shots with a large span.
[012739 In Vincent's car after turning on the warning light - Neil's car] Between two close-up shots that lack relative spatial relationship, a relationship shot that connects the two spaces should be inserted.
[020018Neil talking on the phone-Vincent and his deputy are in the elevator] The scene was transitioned with intense and specific movements. The first time he came up, the deputy was ejecting bullets, and the movement was quite large.
[024214 Last stop] The left side of Neil's previous shot is still a wall, and the left side of the next shot is the rear. something wrong. The light and motion just don't match up.
In the sound effect part
[0520Vincent takes a shower after sex] The sound of water is a reflection of loneliness and loneliness.
[2312 Charlene's mess in the house - Chris driving an angry car outside the house] There is a problem with the sound effect connection. You should first have the sound effect of driving in the house before transitioning.
[3159Vincent asked the informant] The barking of dogs creates a dangerous, confrontational, but also dilapidated, impoverished atmosphere.
[021450Chris comes to Charlene] While Chralene hesitates and Vincent waits on the phone for her reply, the rattling of someone standing up in a rattan chair in the background is used to add tension.
[022155Vincent found Lauren] During the first aid process, the sound of water kept rushing. Did you emphasize the sound of water on purpose? If it is deliberately emphasized, can it be understood as the flow of water sounds to imply the passage of life and time? Without the sound of water, the picture and scene would be static, closed, and not flowing, so there is no sense of urgency and passage in time. The sound of water is very important.
View more about Heat reviews
