Erika Thomas

Editing

Establishing shot, car driving through rural area. Cuts from last scene from river and jumps through time to more important part of the story (3 seconds)

Over the shoulder of Sarah talking to her daughter (3 seconds)

POV from Sarah’s daughter as the conversation with her mother continues (3 seconds)

Cut back to daughter, daughters smile shows closeness to her mother (0.5 seconds)

Cut back to Sarah (2 seconds)

Cut to husband focusing on road, his reluctance to join the conversation signifies he has something pressing on his mind (4 seconds)

MS, Sarah and her daughter are engaging whilst Paul feels unable to join in because he is thinking about Juno (6 seconds)

MS, brief encounter between Paul and Sarah displays tension. Very clear to the audience that something is going on (4 second)

Opening half of this sense is edited at a very slow pace lulling the audience into a false sense of security. It makes the scene feel serene, calm and natural. Like nothing could go wrong. It makes the second half of the scene even more shocking

Car smashes into each other. Extremely fast cut changes editing styling, action is instantly demonstrated by this (Fraction of second)

Poles fly through the air towards the car. Very short cut. Establishes a quicker editing pace that gives audience a lot of confusing information (Fraction of a second)

Another swift cut. We don’t actually see the poles enter Paul to show this film isn't explicitly gory but has no problem killing any character early on (Fraction of a second)

Quick brutal cut of Paul’s death. Does not show anything graphic. Very little of this scene shows what's actually happening to the characters but it is shot in such a way that the audience fills in the blanks (Fraction of a second)

Establishing shot of the aftermath of the crash. Editing pace is reduced to even slower than at the start of the scene. The slowness signifies that the action is complete and what has just taken place cannot be solved, changed or fixed. What's done is done. Slow zoomed out from a crane and fade to black show the narrative is leaving this scene (20 seconds)

This second half of the scene has a immensely quicker editing pace to shock the audience with the contrast in pace. The faster pace disorientates the audience because they can not fully take in everything that is going on in every shot. This also makes it easier to create the scene for the movie makers because it does not have to look visually perfect because is only flashed on the screen very quickly e.g. There is a shot where a pole is sticking out of the back of Paul's chair but not the front.

CGI – Computer generated images

The poles that fly through the air are probably real in this cut flying into the car with nobody in there for health & safety reasons.

These poles are most likely CGI’d in as it is impractical to have the real poles fly into an actor. They probably cut the chairs and Paul from another shot and imposed them into a shot of the poles flying through the car

This is most likely a pole flying through the back of the headrest bursting a blood pack and flinging a fake tuft of hair over the top of the seat

Regular cuts are used for the majority of the scene but the very last shot fades to black signifying the scene has come to an end. Everything that just happened is over but it also leaves the audience unsure as to how many people in the car had been killed/injured.

The scene starts so calmly with a very slow editing pace and establishes that Sarah has a close bond with her daughter. There is a warmness to scene as it is just a nice family conversation. The family tranquility is snatched away as the swift pace quick's in very little can be clearly distinguished and the audience have to fill in some of the blanks themselves. The great contrast is highly distressing to the audience.