MovieProduction Project-Script for Lost In Translation Hotel Lobby Scene
Asthe movie fades in, there is a hotel filled to capacity by businesspeople. There is a family getting in to lunch. There emerge twoindividuals, Charlotte and John walking down the lobby hall. On theother side is the energetic blonde actress who appears carrying acopy of Geisha Memoirs, she is called Kelly (Armstrong 138). Uponseeing Kelly, John drops the hand of Charlotte. Kelly surprised asksJohn what she is up to in the hotel lobby. John informs her that heis there shooting a band while Kelly is in to promote the movie shedid. Both John and Kelly catches up on their lost times (McGowan 59).However, Charlotte gets smirked up when Kelly mentions that John isher best photographer after the introduction of Charlotte as thewife. The producer comes and Kelly and John kisses and part ways. Themovie fades away.
Theaesthetics use is distinctive in this movie. The choice of Tokyo forshooting of the film is symbolic of the world view of the characters.There is some sort of calmness and cool nature of the hotel aspresented in the film. Outside the hotel lobby there appears to befull of life with up and down movements representing the willingnessof the main characters to interact with the world.
Themovie uses the long, medium and closed up shot. The long shots whichare the full shots are used when the two individuals, Charlotte andJohn walks down the lobby hall. The long shots are also used when thefamily is getting in the hotel to take lunch (Coppola 33). Mediumclosed up shot is used in the instance when the trio meets, that is,upon the meeting of Charlotte, John and Kelly. It is vivid at thepoint when John introduces Charlotte as her wife (McGowan 55). Theshots are also taken at eye level which makes them appear as if moreof confrontational especially when the three meet and are discussing. Additionally, there are high angle shots that are taken at the pointwhere the several business people meeting in the hotel room arecasted.
Lightinghas specific effects on a movie. The lighting of the setting isnatural save for the additional lights in the hotel lobby. Thislighting as used in the production process creates some sense of 3Dfilm. At the point where the trio meets, there is use of diffusedlights as their images are clearly seen and there are soft andtransparent shadows with general illumination of the place. However,focusing on John as he converses there is a feeling that theproduction at that point used fall off shadow technique (Coppola 33).This is because there is brightness contrast between light and shadowand the rate of exchange between light and shadow is evident.
Keenlyattending to the lens characteristics in relation to depth, it isapparent that the production employed the use of deep focus andselective focus effect in this scene. The use of deep focus emergeswhen John and Charlotte part ways after kissing and the lens of thecamera concentrates on Charlotte (McGowan 61). On the other hand,selective focusing occurs at the point where the three meet in thehotel lobby and despite the passers the camera just focuses on thethree. Additionally, selective focus occurs at the point whereCharlotte and John are kissing before parting ways as their produceremerges (Coppola 33).
Lookingat the production vectors of the movie, the scene employs the use ofvertical and converging vectors. There is use of dynamic graphicbalance in the production of the movie. The graphic elements in a wayare distributed in a symmetric manner and the weights of the graphicsare exact to both sides of the frame. This happens mainly because thescene is full of drama.
Armstrong,Richard. "Tokyo, Mon Amour: Love, Melodrama and Generic Remainsin`Lost in Translation`." (2010): 138.
Coppola,Sofia. "Lost in Translation (film)." The Anna FarisHandbook-Everything you need to know about Anna Faris (2012): 33.
McGowan,Todd. "There is nothing Lost in Translation." QuarterlyReview of Film and Video 24.1 (2007): 53-63.