Complelling Films

Dead Men Don't Wear Plaid
Directed by: Carl Reiner
This was a very entertaining and comedic film of a detective, Rigby Reardon, trying to solve the case of Juliet Forrest father's death. I chose this film because I enjoyed watching the creativity of editing and matching old films to this detective movie.










Chinatown
Directed by: Roman Polanski
This is a good type of film noir movie that where the detective, Jake Gittes, get sucked into scandal that he solves too late. I chose this film because it makes you want the main character to succeed while your watching the character going down a dark tunnel that leads to his doom.









Apocalypse Now
Directed by: Francis Ford Coppla
The film the represents its name where Captain Willard is sent to assassinate officer Green Beret in what appears to be hell (but in the film is Cambodia.) I chose this film for its sound and Walter Murch's ability to make the sound sound like it is surrounding the audience.








Corpse Bride
Directed by: Tim Burton
This is a film where our main character Victor is engaged to be married with Victoria but is able to recite his vows; he runs away to the woods to practice and in turn recites them perfectly to and Corpse Bride named Emily. She takes him to the land of the dead where she present Victor as her husband, but he attempts desperately to go back to the land of the living before his bride to be Victoria marries another by force of her parents. I chose this film because it shows the two sides of life one energetic and colorful and the other lifeless, cold, and colorless. It's really a creative film and because it is not as long as other films after it is shown the class could see the making of it and see all the shot by shot action.










Speed Racer
Directed by: Andy Wachowski and Lana Wachowski
This is a film where a very talented Speed Racer is wanted by many to race for there company but Speed decides to keep racing for and with his family "Racer Motors." Speed discovers that the big companies fix races and threaten to destroy Racer Motors; but Speed fights (races) to, in turn, destroy the company that threatens his family and way of living by defying the odds and revealing the company for what they are and for what they have been doing in order to win. I chose this film because you can see the advance use of technology in the making of this film, it gives a good story, and is family oriented.




























Lord of the Rings_Return of the King
Directed by: Peter Jackson
The last of three film where the fight for middle earth is underway while Frodo and Sam and near Mount Doom to destroy the one ring that threatens there life has they know it.
Although this is a film of great length, I chose this film for its creativity and great use of technology, the greatest in my opinion is the creation of Smeagol/Gollum. This film has great camera work, one of the example is actually used in our text where Frodo is approaching Mount Doom but is lead by Gollum into a cave where lies a great spider; the low angle is used to demonstrate Frodo's weakness over the spider not knowing that she hangs above him readying to strike.

Shot List for: Dead Men Don't Wear Plaid

Video Time: 0:37-2:52
Production Title: Dead Men Don't Wear Plaid
Director: Carl Reiner
Cinematographer: Michael Chapman

Shot #	Location	Shot Type	Camera Angle	Camera Movement	Shot Description
1	Int.	E.C.U.	H.A.	Stationary (S.)	Int. Rigby Looking down at list of names, while narrating Lighting (L): bright
2	Ext.	C.U.	E.L.	S.	Ext. on the road; Rigby is driving, while narrating L: dim
3	Int.	M.S.	E.L.	S.	Int. Rigby walking up to the door Back Light (BL): bright
4	Int.	L.S.-P.O.V.	H.A.	S.	Int. Rigby looking down at Swede laying in bed L: dark
5	Int.	M.S.	E.L.	S.	Int. Rigby looks away then back at Swede BL: bright
6	Int.	L.S.-P.O.V.	H.A.	S.	Int. Rigby’s perspective viewing Swede moving in adjustment; L: dark
7	Int.	M.S.	E.L.	S.	Int. Rigby walks into the room; L: dark
8	Int.	O.T.S.-2S.	H.A.	S.	Int. room; Rigby standing in front of Swede looking down at him; Swede’s face can be seen L: dark over Swede/lighter over Rigby
9	Int.	C.U.	E.L.	S.	Int. room; Swede laying in bed L: dim
10	Int.	E.C.U.	L.A.	S.	Int. room; camera looking up at Rigby looking down at Swede
11	Int.	E.C.U.	E.L.	S.	Int. room; Rigby tapping his hand, with gun in hand, to wake up Swede
12	Int.	C.U.-P.O.V.	H.A.	S.	Int. room; Swede coming to, Rigby looking at Swede; L.: dim
13	Int.	L.S.	E.L.	Pan-Tilt	Int. room-kitchen; Rigby walking into kitchen, grabbing pot, looking for coffee; BL: bright
14	Int.	C.U.	E.L.	S.	Int. room; Swede reacting to sound in kitchen; L: dim
15	Int.	M.S.	E.L.	S.- Pan	Int. kitchen; Rigby closing cabinet heading for the fridge; BL: bright
16	Int.	E.L.S.-2S.	H.A.	S.	Int. staircase; two men coming up the stairs L: moderate
17	Int.	M.S.	E.L.	S.-Pan	Int. kitchen; Rigby opening fridge throwing eggs in pot. BL: bright
18	Int.	E.C.U.-P.O.V.	H.A.	S.	Int. kitchen; Rigby holding pot cracking eggs and scrambling them BL: bright
19	Int.	C.U.-2S.	H.A.	S.-Tilt-Pan	Int. two men up the stairs and along side door L: moderate
20	Int.	E.C.U.	H.A.	Pan-Dolly	Int. room; Swede laying in bed_ getting up L: dark
21	Int.	M.S.	E.L.	Pan	Int. kitchen; Rigby scrambling _ reacting to Swede getting up BL: bright
22	Int.	M.S.-P.O.V.	E.L.	S.	Int. room; Swede looking at Rigby L: dark
23	Int.	M.S.	E.L.	Pan	Int. Kitchen; Rigby pouring liquid into pot BL: bright
24	Int.	E.C.U.	E.L.	S.	Int. room; Swede looking out L: dark
25	Int.	C.U.-P.O.V.-2S.	E.L.	S.	Int. room; two break into the door L: dark
26	Int.	MS	E.L.	S.	Int. kitchen; Rigby reacts to the sound BL: bright
27	Int.	C.U.-P.O.V.-2S.	E.L.	S.	Int. room; the two men start to shoot L: dark/bright when shots fired
28	Int.	MS	E.L.	S.	Int. Kitchen; Rigby gets shot BL: bright
29	Int.	C.U.-P.O.V.-2S.	E.L.	S.	Int. room; the two men continue shooting L: dark/bright when shots fired
30	Int.	M.S.	E.L.	S.	Int. kitchen; Rigby is taking cover BL: bright
31	Int.	C.U.-P.O.V.-2S.	E.L.	S.	Int. room; the two men continue shooting L: dark/bright when shots fired
32	Int.	E.C.U.	E.L.	S.	Int. room; Swede let’s go on the grasp of the pole (signifying death) L: dark
33	Int.	C.U.	E.L.	S.-Pan	Int. kitchen; Rigby holding his injury looking out of the kitchen and reacting to his injury BL: bright