9 Key FramesBY DANIEL ROTHERY AND HARRY WHITE

Mise-en-sceneA poorly lit briefing room (a mixture of low key and high key lighting, binary opposition) there is also the light being projected from the projector. There are two agents, Luke and Mccoy in the foreground of the shot and they are wearing black smart dress shirts along with black trousers. Mike, the sergeant is in the background and is the main focus of the shot, he is wearing a black t-shirt, black jeans and a suit jacket that is too tight for him. Mike is also eating a piece of fried chicken.Also in the mise-en-scene there will be little office items such as papers, pens, pencils and staplers.

KEY FRAME 1

SoundDiegetic sound – the dialogue between Luke, Mccoy and Mike. The sound of Mike eating fried chicken. Ambient sound – the sound of the overhead projector can be heard.

Cinematography The main focus of the shot is of Mike but there is a shallow depth of field in the shot with one of the agents agents sat at the front not in focus. This is an over the shoulder shot from over both the agent’s shoulders. Before this shot happens the camera will pan round from the focus being on the back of Mike’s chairs to the back of the agents shoulders where Mike will then turn round on his chair throwing the fried chicken at the agents.

EditingAt the start of the sequence there will be fade in transition from the scene before. It will then cut from the focus being on Mike to a medium close up of the two agents showing their reaction to what Mike has just said. Cut to Luke drawing on his notepad then a shot reverse shot and eye line match with Mike looking angrily down on Luke and his notepad.

Mise-en-scene-High Key lighting. Mike wearing a suit jacket and Simon is wearing a short sleeve white shirt and tie. The agents are staring at the door to see what the fuss is about.Simon then hands over the CCTV VHS over to Mike, who snatches it off him

Sound-Diegetic sound, Simon says ‘Sargent you might want to see this’ dialogue finishes with mike saying ‘Shut the fuck up fool, you do as I say’Diegetic and ambient sound of the buzz from the overhead projector.Diegetic sound when Simon breaks in the door, sound of the door slamming against the wall Asynchronous sound of the door being burst open.

Cinematography-This shot is a close up of the VHS tape being handed over from Simon to Mike. There will be a medium close up of mike walking over to Simon near the door.

Editing-Sharp cut from close-up of mikes face to the door where Simon bursts in.Cut from a medium close up of both Mike and Simon walking to a close up of the VHS tape.

KEY FRAME 2

KEY FRAME 3

Mise-en-sceneThis is the scene were the agents and Mike watch the CCTV footage. The shot is from the footage itself. In the shot there is a man threatening to shoot what the agents believe to be the missing Agent sharp. In this room there is only a single chair in the middle of the room and “Agent Sharp” is tied to the chair with the bag over his head.The lighting is low key because the footage is rather distorted and is in black and white. Everyone in the scene is wearing casual clothing apart from agent Sharp, he is in a suit and the person threatening “Agent Sharp” has his back turned to the camera. In this Key Frame, the action is near the end of the footage where the terrorists have left the room.

SoundThere isn’t really any sound in this scene because there is dialogue in the CCTV footage . The dialogue is distorted and this becomes sort of an ambient sound. Dialogue in the scene: Terrorist: So you think you can try to bust us eh, Agent! Would you like it if I busted you?Agent Sharp is mumbling and trying to say something but he is gagged.Other sounds that can be heard are footsteps and the loading of a gun off screen at the end.

Editing:When the tape is inserted into the VCR there is a one second moment where the audience are watching it over the shoulders of the agents, then it cuts into the footage that fills up the whole screen, just like the audience are watching it like the agents at home/cinema. At the end it cuts straight to a medium close up of McCoy who says his line, then the scene continues back in the office.

Cinematography:It is a high angle shot and during the scene it stays in the same place, there is no movement of the camera only the occasional shake because of its unsteadiness.

KEY FRAME 4

Mise-en-scene Exterior, on a street and it has been raining. The two agents Luke (Right) and Mccoy (Left) are walking down the street trying to figure out which house to break into to find Luke’s brother. They are wearing casual clothing and almost matching outfits this is to resemble that they are undercover and they are on a mission. Outside it is dull but there is natural lighting, they are on a little street walking down the path with the houses to their right (left to the audience).

SoundAgain in this shot there isn’t much sound, but at the end of this shot it does break into a fast paced track that suits the style of the montage of them breaking into the wrong houses. This will be non-diegeticDialogue: Luke: So...Mccoy: Shut up SharpLuke: Lets bust this shit!Ambient sound: the sound of birds and a little rustle of the wind on the bushes.

Cinematography:This is a long shot of the two agents walking along a street. The camera is tracking back at this point revealing the houses as the agents go past them. It then cuts to an extreme close up of Luke’s face as he says “Lets bust this shit”.

EditingThe shot is cut into and the when Luke is about to say “Lets bust this shit’ it cuts to an extreme close up of his face. It then cuts again to the montage sequence.

KEY FRAME 5

Mise-en-sceneThis is the montage scene were the agents are breaking into the houses down the street. This is the fourth and final house that they decide to bust open and they find out that it is the correct one. They find agent Sharp who is sat exactly the same as he was in the CCTV footage in a suit and in a dark room with only a spotlight on him.In this shot it is dull but still natural high key lighting. The agents are busting into houses in an urban sort of area with terraced houses.

SoundThere is some fast pulsating music that is heard over the top of the montage sequence. But once the agents have busted down the fourth and final house the music slows down and fades away. The agents are panting for air and then McCoy says: Agent Sharp?Other sounds that will be heard are the sounds of the door been broken into, that is a loud bang, and the sound of the footsteps walking on the floor into the house.

Cinematography:This is a medium close up. For whole of the montage sequence it is going to be a medium close up of the two agents breaking into the houses. After the fourth house has been broken into the shot then cuts into a medium close up from behind the two agents.

EditingThis is a montage sequence, that lasts for around 30 seconds to one minute. And because there is fast pulsating music over the top, the transitions are going to fit the music with sharp cuts. Once the agents have retrieved the man with the bag over his head, it will then jump cut to the next part of the scene in which Luke shoots Teague.

KEY FRAME 6

Mise-en-sceneThis shot is just after the agents have found out that that it wasn’t Agent Sharp that was being tortured by the terrorists, it was in fact someone called Teague Coupe.This part of the scene is set on a grassy area just outside of the houses they have been breaking into. Again the weather is dull and it is a mixture of both high key and low key lighting but it is natural lighting.

SoundDiegetic sound: dialogue between the three characters, the ambient sound of the wind in the leaves.There is also going to be a soft but urgent soundtrack that is going to be played quietly over the top of the scene while the characters are talking. There is also the the sound of Luke’s gun being loaded and then the bang of the shot he has fired.

CinematographyLow angle long shot, it is also a point of view shot from the perspective of Teague Coupe.While Teague Coupe is on the ground there is a shot reverse shot when the characters are in conversation. But every time Luke is talking it will be a low angle shot from the point of view from Teague.

EditingThis scene has been jump cut into from the previous scene. There isn’t any real editing needed really only the shot reverse shot and the gun being fired at Teague. The scene will then fade slowly and then just cut into the establishing shot of the FBI station.

KEY FRAME 7

Mise-en-sceneThis is an establishing shot of the police/FBI station. It is set outside and it is raining, this reflects the mood of the film at the time. The agents have just been fooled by the terrorists and are in trouble with Mike because they unlawfully killed someone. The building is a big building that was made in the 21st century, this is obvious by the sliding doors and the the shape and design of the building.

SoundDiegetic sound and ambient sound of the police cars coming in and out of the station and some background noise of police men talking. This will then sound bridge into the next scene for no more than one second.

CinematographyThis is an establishing shot for the police/FBI station. It is also a long shot.

EditingBecause this is just an establishing shot it is going to lost around two seconds. Then it will cut to the next scene.

KEY FRAME 8

Mise-en-sceneInterrogation room inside, the lighting is very low and only the spotlight that is on the Bearded Beast of The Middle East is the highest lighting. Luke and McCoy both wearing the same clothing as before (the black shirt and the black jeans) and they sit down. They are constantly staring at the Bearded Beast. Because they are constantly staring at him and the lighting is low key Luke trips over a chair. He then gets back up and is still staring at the BB. The bearded beast is supposed to be the comedy character in this scene, a bit like the character Fatoush Nakbarah (John Turturro) from the 2008 film You Don’t Mess with the Zohan. This scene also is a bit like good cop bad cop. But they both end up playing ‘crap cop’.

SoundDiegetic sound: the dialogue between the three characters is heard in this scene. There will also be the ambient sound of the quiet buzzing of the lamp can be heard.When the agents first walk in and are constantly staring at each other, there will be a non-diegetic soundtrack that will play the iconic music from the film ‘The Good, The Bad and The Ugly” (Sergio Leone, 1966). Until Luke falls over the chair and at that point there is the sound of the clattering of chairs. When he gets back up the music starts again until we see all the faces of the characters in the interrogating room.

CinematographyThis shot is an extreme close up of The Bearded Beast of The Middle East. This extreme long shot is the scene where the film pokes fun at the film ‘The Good, The Bad and The Ugly’ (Sergio Leone, 1966). Even though this is an action parody film and not a Western, I thought that it would be fun to add because the film is supposed to make people laugh as well. Plus the extreme close up makes it feel like we have put our own twist on it because in the original ‘The Good, The Bad and The Ugly’ the shots of the faces are in a close up. Also in this scene whatever angle the camera is at, the audience never see The Bearded Beast’s face until he is dismissed where it is revealed that he looks nothing like his name suggests, a bit of a juxtaposition.

Editing;From the previous scene where Mike has told the agents that they are to go and interrogate the Bearded Beast of the Middle East, it cuts straight to the shot of them walking into the room. The Bearded beast is sat on the chair with his back towards the camera. The editing techniques that are used in this scene are shot reverse shot and when the music is being played during the ‘stare off’ the screen cuts down to letter box and it looks as though a blade has sliced the screen to get that letter box style.

KEY FRAME 9

Mise-en-sceneThis scene takes place towards the end of the film. This is where the agents are finally going to capture the terrorist that captured Agent Sharp. They have found out his location and agreed to corner him. In this shot is Agent McShane, he is sat on a bench trying to contact Luke Sharp about his whereabouts and getting updates of any possible sightings of the terrorist.Again remember that the agents are supposed to look like teenagers because of the previous mission at the start of the film, they are undercover in a college/university environment trying to uncover a drug problem.Agent McShane is wearing a purple jacket along with his black shirt. He is holding a iPhone 5S all of these items show that he is trying to look like 21st century teenagers. Again there is high key lighting and it is natural lighting because he is outside.

SoundBecause this scene is the climax of the film there is again fast pulsating music, exactly like the music that is played over the top of the montage sequence. This is the non-diegetic sound.The dialogue is over the top of the music, but the music doesn’t stay the same volume it goes quieter to allow the characters to speak.

CinematographyThis shot is somewhere in the middle of a close up and a medium close up. This is to show the expression on the face of the agent. He looks determined to capture the terrorist.

EditingDuring this scene there will be sharp cuts from one agent to the other. This will be parallel editing. We don’t see the face of the terrorist until he is finally captured by the agents.