J.R. Hudson
Spirit Animal
I have seen some threads regarding coverage and blocking and started thinking deep thoughts about it; I wanted to grab a scene from a movie we all know and love and I wanted something somewhat contemporary and driven by dialog; I wanted to see how the master spielberg blocked the following scene at the ripe old age of 26; the bastard.
Yes, this is part of John's learning; I am the junkie. I figure someone might bene from this besides me and feel free to comment or add your own insight.
First a segment from the script followed by a detailed shot for shot board. Read this scene and think in your head how you would block and cut this:
INT. - MORGUE - DAY 90
Coroner, a professional small-town GP, is standing by as
Hooper is speaking into a sophisticated cassette recorder
with a headpiece that leaves his hands free for measurement
with a calibrator or calipers.
91 CLOSE ON HOOPER 91
He is looking down as the drawer slides past him, still
matter-of-fact, turning on his recorder.
The sheet has just been lifted, and Hooper stares down at the
lump on the slab. He stops, turns off his recorder as
emotions wage war with his senses. Rationality wins, and
he turns on the recorder again.
Groups of shots bordered by RED indicate each shot is an individual cut. Note the Set ups used.
I count EIGHT setups. A setup is everytime a camera is moved, a lens is changed and I think even a change in framing and comp (someone correct me on that one?).
Look at the MED and C.U. of Brody and the Coroner as the scene plays out; they come from the same identical angle as previous set-ups except the framing has changed; ZOOMING IN. Notice the Tighter framing adds tension and drama as Dreyfuss leads up to "It's a Shark!"
I only counted one DOLLY shot and it is of the SEVERED HAND. A sleight move to the right and a subtle push.
I count 12 CUTS; and the Spielberg cleverly changes compositons without cutting by having Dreyfuss cross the line, not once, but two times.
Notice when the Cornoer moves behind Dreyfuss in the second frame? This makes for a much more interesting composition as they cut to a reverse.
Notice how the BRODY cuts bring him closer to the resolution while the Coroner starts far and then comes closer but by the end he is farther away? Almost dejected?
Okay; hopefully we all learned something; I'm junkying.
Yes, this is part of John's learning; I am the junkie. I figure someone might bene from this besides me and feel free to comment or add your own insight.
First a segment from the script followed by a detailed shot for shot board. Read this scene and think in your head how you would block and cut this:
INT. - MORGUE - DAY 90
The Amity Morgue is also the Amity Funeral Home, a Victorian
house that normally serves as the community's mortuary. TheCoroner, a professional small-town GP, is standing by as
Hooper is speaking into a sophisticated cassette recorder
with a headpiece that leaves his hands free for measurement
with a calibrator or calipers.
BRODY
Let's show Mr. Hooper our accident.
With a shrug, the Coroner slides open the drawer.
91 CLOSE ON HOOPER 91
He is looking down as the drawer slides past him, still
matter-of-fact, turning on his recorder.
HOOPER
Victim One, identified as Christine
Watkins, female caucasian....
The sheet has just been lifted, and Hooper stares down at the
lump on the slab. He stops, turns off his recorder as
emotions wage war with his senses. Rationality wins, and
he turns on the recorder again.
HOOPER
...height and weight may only be
estimated from partial remains.
Torso severed in mid-thorax,
eviscerated with no major organs
remaining. May I have a drink of
water? Right arm severed above
the elbow with massive tissue loss
from upper musculature. Portions
of denuded bone remaining.
(tense, to Brody)
-- did you notify the coast guard?
BRODY
No, it was local jurisdiction.
HOOPER
Left arm, head, shoulders, sternum
and portions of ribcage intact.
(to Brody)
Please don't smoke. With minor
post-mortem lacerations and abrasions.
Bite marks indicate typical non-
frenzy feeding pattern of large
squali, possibly carchaninus lonimanus,
or isurus glaucas. Gross tissue
loss and post-mortem erosion of bite
surfaces prevent detailed analysis;
however, teeth and jaws of the
attacking squali must be considered
above average for these waters.
(to Brody again)
-- Did you go out in a boat and
look around?
BRODY
No, we just checked the beach....
HOOPER
(turns off the recorder)
It wasn't an 'accident,' it wasn't
a boat propeller, or a coral reef,
or Jack the Ripper. It was a shark.
Groups of shots bordered by RED indicate each shot is an individual cut. Note the Set ups used.
I count EIGHT setups. A setup is everytime a camera is moved, a lens is changed and I think even a change in framing and comp (someone correct me on that one?).
Look at the MED and C.U. of Brody and the Coroner as the scene plays out; they come from the same identical angle as previous set-ups except the framing has changed; ZOOMING IN. Notice the Tighter framing adds tension and drama as Dreyfuss leads up to "It's a Shark!"
I only counted one DOLLY shot and it is of the SEVERED HAND. A sleight move to the right and a subtle push.
I count 12 CUTS; and the Spielberg cleverly changes compositons without cutting by having Dreyfuss cross the line, not once, but two times.
Notice when the Cornoer moves behind Dreyfuss in the second frame? This makes for a much more interesting composition as they cut to a reverse.
Notice how the BRODY cuts bring him closer to the resolution while the Coroner starts far and then comes closer but by the end he is farther away? Almost dejected?
Okay; hopefully we all learned something; I'm junkying.
