Nakida Catches the Light; My best shot

After many unsuccessful attempts to catch her in the air I suddenly stumbled upon this shot. I love this shot because of the lines she created with her body, the framing of the light behind her, and of course the way it looks like she is throwing or catching a ball of light. Through the off centre position of her body and the long stretching lines it created you can definitely tell she is moving. It looks like she is gracefully guiding a ball of light across the stage. It reminds me of the star, and Nakida is the centre in which is moves around. I like how you can only see her silhouette and not defined features. This is created by the large amounts of back lighting. The glowing behind her frames her shape beautifully. The only thing I would change about this picture is that I didn't get her feet in. Although this shot was a bit of a happy accident I am really happy with the way it turned out :)

Alfred Hitchcock's "Psycho" - Assignment

#1) This section of screenplay is almost identical to the finished movie. This demonstrates that Hitchcock had a very clear vision of what he wanted even before they started filming. It shows how much detail and planning went into every minute of the movie. The choice of music adds the the suspense of the scene. It reinforces the fact that something bad is about to happen. If Hitchcock had kept the camera stationary while filming the suspense would have been lost. If someone who had never seen any other part of that movie watched that clip they would know that Lila sneaking off to meet some sort of impending danger. Change the camera work and they might just see a girl walking up to a house.

LONG SHOT- NIGHT
The Bates house standing against the night sky.

CLOSE UP
Shadowy profile of Arbogast against side of motel.

LONG SHOT
Arbogast begins to climb stairs of Bates house, slows when reaches top.

LONG SHOT
Arbogast reaches creeps up to porch, glances back, then opens front door.

CLOSE UP
Filmed from inside of house, Arbogast enters through front door then stops.

LONG SHOT
View of the vacant Bates front hallway/staircase.

CLOSE UP
Arbogast closes front door, walks past camera.

#2) Shower Scene

1. From underneath shower head
2. Underneath shower head looking up at running water
3. Underneath shower head
4. From the nearest side of the shower (where shower curtain would be)
5. From war wall opposite shower curtain
6. From middle of tub
7. Back to same side as shower curtain
8. From the shower drain looking up (under shower head)
9. Back to same side as shower curtain
10. From far wall opposite shower curtain
11. Birds eye view from wall opposite shower head looking down on shower
12. Middle of shower
13. Shower curtain side looking down at Marion's feet
14. From shower looking into open door leading to Marion's room
15. Inside shower closely facing far wall
16. Shower curtain side
17. Birdseye view from shower head side
18. Inside shower looking up at shower curtain
19. From floor opposite toilet
20. Inside shower looking up at shower head

The camera crew would have first had to deal with fitting an entire film crew into such a tine space. The would have had to build the set with moving pieces so they could fit the camera in and get shots from different angles of the shower while still leaving enough room for the actors. While filming at those different angles they would have had to make sure they didn't get any shots of Marion in the nude. They also would have had to worry about the camera equipment getting wet and damaged. 

#3) First off the music helps to build the suspense leading up to the stabbing. As the pitch gets higher and speeds up the suspense intensifies. The high pitched shrieking sounds also correspond with the short choppy stabbing motion and help understand what is being implied since Hitchcock couldn't actually show it. 

#4) Character Emotions

1. Money on the bed

-feel guilty

2. Marion sees her boss

-feel guilty

-feel worried

3. Marion's view of police man

-feel uncomfortable

-feel like our actions are being scrutinized

4. Norman's peephole view

-fell the scandal of Norman watching Marion in private

-notice her beauty

5. Norman's view of newspaper

-feel the continued guilt because the audience know's what is hidden in that paper

6. Norman's view of car failing to sink

-wonder for a moment what Norman will do if car won't sink

-will this lead him to be caught for his actions?

-watch all the evidence of the crime slip away

7. Lila's view of Mrs Bates' bed

-assume its Mrs Bates' bed

-audience wonders if this is a proof that Mrs Bates is real

8. Lila's view of Mrs Bates

-creepy setting

-wonder why she's not moving

-could this be the real Mrs Bates?

A Deeper Look into Cinematography

Since watching Alfred Hitchcock's classic film "Psycho" in class I was reminded of my love for cinematography. As a lover of old movies I have a certain appreciation for the techniques they used for filming. There is truly something different between movies from before the 21st century. I decided to look deeper into the development of cinematography. What makes a great movie a great movie? Well of course acting plays a large roll, but camera work often takes a back seat to the glamour of having big hollywood names starring in a film. Take Francis Ford Coppola's "The Godfather" for example. Its easy to say that is achieved its success due to the heavy hitting cast (Marlon Brando, Al Pacino, James Caan, all fantastic actors). However the film would have a very different feel if it wasn't for the amazing work of Gordon Willis, the cinematographer. The use of lighting in this film is impeccable. While filming he was criticized for filming with such low light and yellow tones. However these techniques helped to shape this movie into in my opinion (which may be slightly biased being Italian and all) one of the best ever made.

This interviews with Gordon Willis explains it all!