Matherson’s Building - Lobby
- Frame No. 1
This shot will be the lobby of Matherson’s building. It will capture the desk centralised in the middle of the lobby, displaying the staircase to the rear of the building behind the desk. It will also display the wide open space to reinforce a large building, in addition to a few extras being dotted around in formal attire, to promote a realistic feel. The secretary is seated at the desk and is working on the computer or organising files. The lobby is brightly lit with artificial lights and there are sophisticated table top lights spread throughout the lobby. The light highlights all the luxurious fixtures and items such as traditional and antique items for decor. The lobby in the this frame reinforces my study as this will start the storyline which focuses on Jonathan, conveying crime that has occurred in the 2000s.
- Frame No. 2
This shot will be focused more so on the behaviour of the characters, capturing Jonathan Troop and the secretary together at the reception desk. Troop will have his arm resting on the desk and smirking as he converses with the secretary. The secretary will be seated at her computer and will be looking up at Troop, responding with a smile as if feeling flattered or charmed. In the background of the shot, there will be the photograph of the warehouse hanging on the wall. This is significant for the next scene. As it is the item that allows for the transition between the two scenes.
- Frame No. 3
In this frame there will be a shot of the lobby, with all the people walking round and conversing, all looking determined and hard at work. The shot will be from inside the building, capturing the entrance and the rest of the lobby from the point of view of the reception desk. This is to provide another angle and provide a clear image of the entire lobby, so one clear image of layout can be formulated. The idea is that this shot will capture what Frame No.1 can not. In this frame, there could be the incorporation of the edge to the stairwell or reception desk, to help determine what angle the shot is being taken from.
Warehouse
- Frame No. 4
This image will capture Lambert in the background with his arms up, casting directions to his men on the cross roads who are shifting crates on to the back of a truck. In the foreground is Scott, who has both his hands firmly planted in the table. He is leaning over a map with deep thought and consideration sprawled across his face. Scott appears detached from the operation happening around him. In this shot, the idea is to promote a precise trade being carried out in an isolated location, capturing the large buildings in the background and the the red and white security checkpoint barricade. This is another beneficial reasoning for the selection of Powder Mill Lane as the location for the warehouse.
- Frame No. 5
Here we will see Scott and Lambert meeting the three gentlemen from Chicago. They are standing around near the table. Lambert and Scott have serious faces, as if engaged in discussion with the men from Chicago about the trade that has been established between them. The map is now flicked over, so its content remains hidden from the Chicago men. One of the three men is slightly out of line, standing further forward than the other two men, this is to promote the point that this gentleman is the person discussing with Scott and Lambert on behalf of Chicago. The clear point of this frame is to demonstrate a formal meet between two parties, regarding a business in illegal liquor, highlighting the contextual issue of Prohibition, a key aspect of my textual analysis study.
- Frame No. 6
This frame captures a point of view shot from the back of the truck which is now driving away, It shows Lambert in the foreground with a friendly wave at the truck’s direction. There is however a false face of grimace, hidden behind an easily mistakable grin, through gritted teeth. In the background is Scott, stricken with disappointment towards Lambert and his narrow minded behaviour towards the Chicago men. This frame is to reinforce the differences between Scott and Lambert, foreshadowing the conflict the two families participate in, throughout the rest of the film. Scott’s head can be slightly cast down in order to communicate the negative feelings he has towards Lambert after their exchange.
Matherson’s Building - Hallway
- Frame No. 7
In this frame, the stairs which join to the upper hallway are in shot. There is also a small section of the edge of the upper hallway in the frame, to demonstrate where the stairs are heading to. Upon the stairs is Jonathan Troop, who is captured in the middle of the staircase, venturing up to the hallway. Behind him are small shelves with books aligned on them. The shelves recede into the wall, to ensure their are no obstructions on the stairs, due to there low placement in the wall. The shot does not capture Jonathan completely, as an antique wooden handrail is located in front, promoting a more exclusive area to the building. In addition to the bookshelves, there is the picture of the two men with their arms around one another posing for the photo. This is a nice subtlety towards the transition to the next scene.
- Frame No. 8
This shot captures Jonathan bumping into the member of staff who has wheeled out a trolley into his path. There is the look of shock on the member of staff’s face, one arm is holding the trolley in place, the other is extended towards Jonathan. This is to demonstrate the incident being a complete accident; the arm is extended merely to steady Jonathan. Jonathan remains fixed on the door to Matherson’s study, he does not acknowledge the member of staff, other than resting a hand on his back to ensure he did fall and was aware of his presence.
Park
- Frame No. 9
This frame captures a front facing shot of Steven and Cray, they are leaning on the bandstand rail, under shelter from the heavy rain. They both have big clothes to keep them warm, including long sweeping coats. They both have solemn faces as they stare into the distance in the direction of the camera. Cray is in the left of the shot and Steven is on the right. Cray’s gaze is more towards the directions as to which their contacts will be walking from, whilst Steven looks in the same direction, but his head is cast downwards. The shot can incorporate the top of the briefcase, on display to the right of the shot, situated next to Steven on the ground of the bandstand.
- Frame No. 10
To convey the suspense, the two contacts and Steven and Cray are standing in the rain looking at each other. The shot captures them from the side and displays both suitcases in hand. This is similar to frame number eleven, but feel it is necessary for another shot to emphasis the suspense.
- Frame No. 11
Here we will see the two contacts in the background of the shot, Steven is holding the exchanged briefcase, standing between them and Cray. Cray has his arm straight grasping a gun, which is pointed at Steven. In relation to the contacts they have met, one is not amused and has a facial expression of boredom, the other conveys the appearance of smugness. Steven displays a face of confusion, disappointment and sadness. This captures his realisation of betrayal. Cray demonstrates a conformed stance, but his face expresses agony, which has arisen from anger and a conflicted mindset. They all stand on the path and extend onto the surrounding grass. In the background behind the two contacts is a large tree and different levels of shrubberies and vegetation.
- Frame No. 12
Here there is a close up of the upper half of Steven’s body; this is after he has been shot and lies across the path and grass. His eyes are open and his mouth his slightly ajar. His hand is laid out towards the camera, it contains the crumpled picture of his child. Behind his hand, his lifeless face can be seen. His body is soaked with the rain and the shot captures several little splashes over his hand and face where rain has been caught at the point of impact. Watery blood is running over the image in his hand and down the pathway around where his body lies.
Office
- Frame No. 13
This frame shows Matherson shaking hands with Jonathan, he is seen meeting Jonathan in the entrance of the room, a small way in from the doorway. Behind them in shot is two chairs either side of a wooden desk with an assortment of office equipment atop its surface, such as a lamp, pens and folders etc. This is minimal, in order to convey a desk which is well used, but not cluttered. Jonathan is looking at Matherson with a small smile; a smile as if you are acknowledging a passing acquaintance. Matherson displays a beaming grin, one considered overly enthusiastic. They are shaking hands using their right a hands. Both men are leaning in, but to demonstrate Matherson’s eagerness, he is leaning further across and catching him directly after the doorframe. To demonstrate the meeting is occurring in the evening, the room will be illuminated with the artificial ceiling lights.
- Frame No. 14
In this shot Jonathan and Matherson are now sitting down in chairs either side of Matherson’s desk. Jonathan sits back with his right foot and ankle planted upon his left knee. Matherson's lower half of his body is hidden behind the desk, but he is leaning into Jonathan slightly from where he is seated. He has his elbows on the desk and his fingers are interlocking apart from his index fingers and thumbs which are touching their counterparts on the other hand. Matherson maintains his grin, whilst Jonathan has moved to a more relaxed smirk.
- Frame No. 15
Here Jonathan appears to remain calm and conformed in his seat, however he now holds a gun in his right hand, loosely pointed out in the direction of Matherson. It is not accurately aimed, in order to convey the point that the gun is used merely to encourage Matherson to sit back down. Jonathan’s demeanor in this shot, promotes him as a character which is uncaring at this point in the scene. Matherson is standing, stricken with a face of anger. His hand is raised from the desk slightly with a fist forming.
Street
- Frame No. 16
This shot captures the two gangs standing opposed against each other on the street. There are approximately six members on each side, they are dressed down in casual clothes and all holding melee weapons to appear threatening to the other gang, and as an effective means to dealing damage. Matherson has a club raised in the air with a face of pride and confidence, as if rallying his troops. Finn is peering over his shoulder, as if confirming that his men are also ready for the battle that is about to ensue. Both Finn and Matherson are a few paces in front of their men, in order to convey them as the leaders of each gang.
- Frame No. 17
In this frame, the gangs are together in a brawl, in various individual conflicts, indicating that both groups have just charged at one another. There will be makeup used on some of the gang members, to promote the violence through wounds. To demonstrate the power that both Finn and Matherson have, they will both be in shot, both enacting violence on an opposing gang member. On the ground, there will be a couple of dead bodies which will convey how the conflict being captured is mid-battle. The shot will be taken from the middle of the fighting, as if the audience is caught between the two gangs and find themselves in the midst of the fight.
- Frame No. 18
Frame 18 communicates the victory of Matherson’s gang, having Finn on his knees before Matherson and his two men. Finn is covered in blood and appears distant as a result of how brutally beaten he has been. Matherson’s gang member is wounded and his stab wound with one of his hands and looking at Finn, he is standing behind Matherson. His other man is holding Finn upright and steady. Matherson has his bat covered in barded wire grasped tightly in his hand, he is towering over Finn in order to convey his dominance.
Office (II)
- Frame No. 19
In this shot, there is a return to the office which captures Matherson who appears more concerned and has water around his eyes. Jonathan’s face is not phased and he begins to look more menacing as he enforces his control over Matherson.
- Frame No. 20
For this frame, this is the final scene, capturing the death of Matherson. He is displayed with his body slung back in the chair, a bullet wound in his head with blood dripping out of his skull. In the background, Jonathan is walking out with no worry of having just killed someone. Jonathan’s face is not in shot as the focus is Matherson’s lifeless body. His eyes are wide open and his mouth is open.
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