Title of film: Goodfellas
Duration: 2 min, 14 seconds
Categories: MES, editing, cinematography, camera movement, sound Main Characters in take:
Henry Hill (Ray Liotta)
Karen Hill (Lorraine Bracco)
Key to abbreviations used:
HH = Henry Hill
KH = Karen Hill
N = Neighbor
Cut from last take to this take
1. MES: Take starts with a phone booth in the foreground and at the right half of the screen, at a location that would appear to be street-side. It appears to be a sunny day mid-afternoon. Behind the phone booth is a wooden fence that appears to follow the perimeter of the street, extending back and to the left, other than that there does not seem to be much use of the off screen space in this shot. To the right and inside the fence is a large tree or wooded area with green shrubbery. KH is inside phone booth, wearing a pink pant suit, holding her head in her hand, clearly distraught. You can see a bluish vehicle reflected off the glass of the phone booth, and you see the reflection of a yellow convertible as it pulls up next to the phone booth. The camera pans left just as the yellow car comes to a screeching stop at the street side location that actually appears to be a parking lot, with several other vehicles parked along the perimeter. HH wearing a reddish brown snakeskin jacket, black shirt and reddish brown dress pants urgently gets out of the car, takes the cigarette he was smoking, tosses it to the ground, and walks towards the phone booth and KH. The camera mimics his actions and pans to the right to encompass the phone booth. KH is crying as she walks out of the phone booth to the center of the take and towards the yellow car. The camera pans to the left and follows her movements. HH asks her what happened and places a comforting hand on her shoulder as he escorts her to the passenger side of the car. KH explains what she was upset about. HH opens the passenger door and KH begins to get into the vehicle. This is the end of the first shot. This take ends in a cut.
2. Editing: This shot is a cut to the next shot. This next shot is a match on action, as the camera moves in closer to the front / passenger side of the vehicle, capturing HH as he shuts the passenger door and jumps the door into the back seat of the car.
3. Cinematography: Color with high key lighting; the depth of field extends behind the action to encompass cars parked at the perimeter of the parking lot; the establishing shot is mid-range, knees up from KH and remains the same until HH helps KH into the vehicle when it cuts to a closer ranged shot. The camera angle is pretty much mid-range or eye level for the entire shot; the duration of the shot is a long take without changing the angle of the camera for the entire shot.
4. Camera movement: The camera movement follows the action, panning from right to left or left to right.
5. Sound: all sound is diegetic in this take; screeching tires of the yellow vehicle, KH crying, dialogue, and car door slamming.
1. MES: Take is a continuation of shot one, joined together from the last take with a cut. Take starts with the camera angle closer and at eye level to the car windshield. We can now take note of the silver windshield wipers, black interior of the convertible and three parked cars at the back of the lot. One of the parked cars is brown and is facing us and is located in the upper left corner of take, while the other two cars, one dark colored and one a light blue, are facing at an angle to the right and away from the front of the take. HH is wearing a watch with brown leather strap and a round gold faceplate, on his right wrist. KH appears disheveled with her left jacket sleeve pulled down her arm, exposing the left shoulder of a white blouse. HH continues to climb into the vehicle and over the back of the front seats and into the drivers’ seat. The camera pans to...
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