Shrek & Wolf of Wall Street: Shots and Angles

Shrek

Description

The scene was an interrogation between the Gingerbread Man and Lord Farquaad (The King) on where was the Muffin Man. Since the Gingerbread Man was not telling him anything he later had his legs ripped off. It later ended up with the Gingerbread Man getting thrown into a trash bin while everyone else’s focus was on the talking mirror.

Research

High Angle. This angle was used in this scene was to show how weak and desperate the Gingerbread Man was while Lord Farquaad was interrogating him.

Low Angle. This angle was used in this scene to represent how superior Lord Farquaad was over the Gingerbread Man. It showed he had power and strength over the Gingerbread Man.

Over-The-Shoulder Shot. This shot was used often in the conversation between the two of them. It was used to see the reaction of Lord Farquaad and the Gingerbread Man while the other is talking.

Medium Close-up. This shot was used in this scene to show how up close Lord Farquaad was in the Gingerbread Man’s face as he contomplates his thoughts.

Master Shot. This shows all the characters in the scene staring at the talking mirror in amazement. It also shows that they are in some type of torture chamber with guards.

Wide Shot. This shot was used in this scene to show that the knight has something important to say which brings the stress of the scene.

Close-up. This shot was used to show his facial expressions on him deciding to pick which princess to marry.

Medium Shot. This shot is often used to show the actions of characters and what they are doing.

The Wolf of Wall Street

Description

In this scene from “The Wolf of Wall Street”, we see as Jordan Belfort welcomes detectives from the bureau to come aboard his yacht for an interrogation about his money scandals. It opens with friendly talk between the two detectives and Belfort, but rises quickly as he realizes they are attempting to incriminate him and trying to make him him talk.

Research

Low Angle. This scene shows Belfort’s dominance and confidence in the scene, towering over the detectives standing atop the yacht while they are walking up onto the yacht to conduct an interrogation.

Medium Shot. This shot includes Jordan holding a stack of money, as the detectives walk along the dock away from his boat, after haven gotten into a heated interrogation. This shows the actions Jordan is doing by throwing the money at them as well.

Two Shot. This shot helps show that they are equal and just talking to each other, also these two being the two main characters throughout the entire scene.

Master Shot. This shot establishes all of the characters that make an appearance in this scene. The two detectives are uncomfortable with coming to talk to Jordan with the women Jordan is accompanied with. Also showing other yachts in the background showing that Jordan has money.

Over the Shoulder. This shot shows us the interaction between Belfort and the detective. The majority of this scene is filmed through this shot, as they are talking. It also shows the detectives facial expressions while Jordan is talking to him and the other way around.

High Angle. This shot shows the detectives below the boat, walking along the dock away from Jordan’s boat, this shows the detectives look defeated while Jordan is above them victorious. This can also be seen as a over the shoulder shot.

Establishing Shot. This shot is one of the opening shots of the scene, as the detectives prepare to board his boat. We see Jordan’s riches as the size of his boat is emphasized while the small detectives walk up to it.

Medium Close Up. This shot emphasizes the distress that Jordan is feeling after the detectives leave his boat with his facial expressions. Jordan now knowing that the police are now keeping an eye on him and he will soon get caught.

I plan to use this research to elaborate further on why these shots and angles were used in this scene and why the director used them as well. I will also use the research to better understand the shots and angles used in the movies.