Film Analysis

Clip A
I thought Steven Soderbergh did a great job in charge of Oceans eleven and this specific scene really went over some key elements in movies. The first thing I noticed was the complexity of the placement of cameras in the poker table scene. The editor had to do some fancy camera work to make sure that the eyeline match was accurate throughout the scene because there was about 7 actors in the scene in a large circle. This along with staying behind the 180 rule probably made this scene hard to make. I also spotted some funny camera angles like a high angle shot looking down at the table as the dealer is dealing. Lighting was a big part of the scene too. I noticed that there was really only one light illumintating the table and that was the light right above the actors. THis gives us a sense of secrecy as everything around the characters is dark.

Clip C
Probably the most important aspect about this clip is the parallel action that takes place. We see two different perspectives, one as the criminal and one as the FBI, and eventually they both slowly come together creating intensity and suspense. The way that the parallel action comes together is also an example of the type of narraration that Jonathan Demme utilizes known as restricted. The restricted narraration causes a surprise in the end when we find that the FBI is actually at the wrong house. Another thing I noticed in the clip was the camera movements. I noticed a lot of hand held shots especially when the FBI is planning outside. I also saw a tracking shot that went throughout the whole house and followed the criminal wherever he went.

Clip D
The most unusual technique displayed in this scene is the steadicam movement which follows the characters around the entire studio often switching personas. This is an example of a long shot where the scene doesn't cut but instead gives us a view at a majority of the cast as well as an expanding setting inside the studio. I also saw a deliberate use of the rule of thirds as the characters are walking through the halls. An example of this is when the Dad the son and the caretaker are walking together, they seem to be congruent with the hallway. I noticed soft light to display the gloominess of the outside world and one last thing I saw was the use of a basic objective perception throughout the scene where all we see is the characters and the world around them.

Clip F
I feel like the most important part about this clip was the very last scene. The cinematographer really puts the rule of thirds into effect during this scene with the burning house up on the hill. The placement of the camera and the wide-angle lens perspective puts your view of the situation in a very good spot. Also the fact that the it is a long shot and how the camera slowlymoves out from behind the house adds deparity to the scene by capturing a shot with two parents and their lid staring at destruction. Another noticeable thing was the camera movements while inside the house. I couldn't tell if this was a tracking shot or a steadicam shot but I noticed that it was almost all panning shots where the camera moved from side to side to show what was going on in the house. The lack of cut scenes and the somewhat long shot that Tarkovsky creates adds to the intensity and sadness of the scene.