This trailer starts off with an establishing shot of a car driving through the woods; it is set during the day which gives a sense of equilibrium. The camera cuts to a long shot of the car taking the left route, with the diegetic sound of speech saying: “Only house for miles” whish shows that they’re isolated. The camera then cuts to a medium shot of the girl taking her clothes off to go for a swim; gives a sense of voyeurism. Camera then cuts to a two shot of mum and daughter, established the relationship between the two. The non-diegetic sound is calming very melodic which contributes to the equilibrium.
The camera then cuts to a close up of Justin’s face which is
in shock; he’s got his hood up, hiding his face, which gives the impression that
he is hiding something. The camera then cuts to a close up of the 3 characters
(Mary, Justin and Paige), establishes each character and the relationship
between them. Camera then fades out to a different scene, establishes a change
of time. The camera then cuts to a close up of feet as the door opens, in sync
with the non-diegetic sound of a “whoosh”, moment of disequilibrium.
The camera cuts to a medium close up of the three villains
walking in, and due to the way that they have been composed in this shot, with two
of them slightly more in front in a sort of protective stance, shows that they’re
protecting him from something or someone. The camera then cuts to a close up of
their faces, Mary looks scared. The camera then cuts to a two shot of Justin
and one of the villains, the one being “protected”, establishes a relationship which
we then find out to be a father and son relationship. The camera then cuts to a
shot – reverse shot between Mary and the villain. The camera then cuts to a
close up of Paige being held captive with a knife to her throat. They have used
a knife, as it’s more personal. The camera then blacks out to nothing.
The diegetic sound of speech; “NO, NO, NO” shows signs of
distress and mercy. Camera cuts to quick short cuts of Paige attempting to
escape, by banging on the windows crying out for help, to then of the villain
coming back in and grabbing her and banging her head against the sink to knock
her out of consciousness, camera then fades out, linking with the idea of Paige
being unconscious. The camera then fades back to a long shot of them in the woods;
this establishes a change of time. The camera then cuts to a close up to Mary
escaping by running into the water, the diegetic sounds of gun shots link in with
the fade, which suggests that she’s been wounded and knocked out of consciousness.
The camera then cuts to a tone card: “It
was a brutal crime”. Camera then cuts to a high angle shot of Mary, which makes
her look vulnerable. This shot links in
with the first time line. The camera then cuts to the villains walking past a
sign which read; “Lake ends in the road”, establishes that they’re heading to
the same place as where Mary’s parents are staying at, it is now night time
which suggests a change of time.
The camera cuts to a point of view shot of someone opening a
door, the door opens to the sight of the villains, we then discover that it was
Mary’s dad who had opened the door, and they stay unaware of where they are.
Cuts to a tone card; “It was a place to hide”, camera then cuts to a point of
view shot of Justin looking at the picture of Mary that’s attached to the
fridge. He finally realises where they are. The camera then cuts to a close up
of Mary taking a breath; this then fades out to a close up of Justin’s face,
which is in shock, horror and guilt. There’s a voiceover of Mary’s parents and
the villains talking about Mary, but not exactly mentioning her name. Cuts to a
tone card; “It was the wrong house”. The
camera then cuts to a close up of May’s hand grabbing the red cone in the
water. This makes her seem weak and vulnerable, as she’s holding out for
something to keep her stable. The camera fades out to a rocking chair banging against
the porch. The camera then cuts to Mary’s dad shining a light on the rocking
chair, only to find Mary on the floor barely alive. Cuts to black, the non –
diegetic sound comes in, this song juxtaposes with what’s going on as this song
is a joyous song.
The camera cuts to a close up of the parent’s reaction of
shock and horror, as they find out what had happened to her. Camera cuts to a
medium shot of them placing her on the living room coffee table, camera cuts to
the villain getting comfy in bed. The camera fades out to a high angle close up
of Mary’s mum crying, makes her look very weak and vulnerable. The camera then fades to a close up of another
villain, then to a close up of a gun. The camera then cuts to a close up of Mary’s
dad looking down at Mary’s mum in a kind of protective way. This shot makes him
look extremely powerful. Camera then cuts to a close up of the kitchen knives,
disequilibrium.
Camera cuts to a close up of the female villain in the shower;
this shot relates slightly to the famous shower scene in the film psycho, in
this shot she looks very suspicious and cautious. The camera cuts to a point of
view shot of Mary looking up at one of the villains; this shot makes her look
very vulnerable, especially after the shot reverse shot of their reactions; the
villains being in shock, and Mary’s in pure fear. The camera then cuts to a series of quick
short shots, of the parents killing the villains, this juxtaposes with the non –
diegetic sound, which is still that joyous song “Sweet child of mine”. It then
cuts to two tones cards; “If some hurt”, “Someone you love” but in a fade, so
it makes sense. Camera then cuts to a close up of Mary’s face being pressed up
against the dirt. Cuts to a tone card; “How far would you go”, Cuts to a series
of short quick shots of more violence, cuts back to a tone card; “To hurt them
back”. That section is of an almost shot reverse shot kind of thing linking the
tone cards with the shots, explains, what is going to happen. The diegetic sound of speech; “Do you wanna
hear what I did to your daughter?” in a voice over, this shows that he is
provoking the dad, and that he has no morals, and is pure evil. The camera cuts
to a close up of someone taking the gun, from the villain’s bed side table.
Camera cuts to another series of quick short cuts, of more violence.
The camera then cuts to a point of view distorted shot of
the villain looking up at the dad, seeing as his sight is distorted almost as
if he has just woken up from unconsciousness suggests a change of time. The camera
then cuts to a close up of a slight high angle shot of the villain’s face, makes
him look weak and vulnerable. This supports my theory with that first shot of
when the villains were introduced and the other two were in an almost
protective stance, as those two villains died before him, leaving him to
attempt to defend himself. The camera then cuts to a close up of the mother’s
face smiling, slightly sinister. This is a new equilibrium for them. The camera
cuts back to the point of view distorted shot, of the villain looking up at the
dad. The trailer ends with a medium shot of the villain paralysed from the neck
down, with his head in a microwave.
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