Shot list

Shot list

Brief:

Opening Shot – Shot 1: A tracking shot entering the apartment room to establish the setting. The camera then transforms into a single shot with a capacity of 15 seconds which pans around the setting of a dirty apartment. Each mise-en-scene after each pan shows the image of something which represents murder, but subtly. For example, the image of cold feet on the floor, the image of a weapon etc. By the end of the shot you are brought to the villain but are not shown his face as he is wearing his hood up.

Shot 2: Low Angle/Mid-shot/Tilt shot tracking villains feet as he walks down the apartment block stairs swiftly. Shot continues for 2-3 seconds focusing entirely on feet.

Shot 3: Cuts to a mid-shot of man walking out of the apartment and down the street and pace begins to get faster.

Shot 4: Mid Tracking Shot of villain swiftly walking from behind evolving into a run. Length of time is roughly 3-4 seconds.

Shot 5: Extreme close up of cigarette being rolled by pair of hands. All you can see is hands with tobacco inside rolling paper. Length of shot is two seconds.

Shot 6: Cuts to extreme close up of villain licking papers.

Shot 7: Cuts to extreme close up of villain tapping rolled cigarette of bench arm rest. Length of time is 2 seconds.

Shot 8: Cuts to extreme close up of lighter lighting cigarette. Length of shot is 1 second.

Shot 9: Cuts to extreme close up of villain inhaling.

Shot 10: Cuts to long shot with smoke invading it.

Shot 11: Cuts to long shot of villain on bench smoking from front on. Fast forward motion takes place for 5 seconds.

Shot 12: Cuts to flashback of villain washing blood off hands – close up with over-voiced dialogue. Black and white effect to determine that it is a flashback.

Shot 13: Cuts to flashback of villain taking swig of Vodka/Jack Daniels using a close up shot – black and white effect still.

Shot 14: Cuts to flashback of villain digging using a mid shot/tilt – black and white effect.

Shot 15: Cuts back to the bench using a long shot transferring back to colour. Dolly in to face as the villain looks up.


By Harriet Bliss and William Fielding