Straight on angle to clearly show the newspaper articles and their content to show that Nicole is some sort of famous person (Hitchcock technique)
Panning camera to tell a story visually without the characters explicitly stating what sort of famous person she is.
Lighting: Just slightly dark lighting, darker themes are being discussed in this scene but nothing to sinister is happening.
Shot: Close up panning to get the action that occurs in detail
Straight on angle: to show in detail what is going on in this scene
Panning movement to tell a story visually without the aid of dialogue, panning to Libby writing in a notepad while Nicole's character speaks infers that she is some sort of psychologist or therapist (Hitchcock technique)
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks
Shot: Close up to show the action that is happening in good amount of detail.
Costume: Libby's character wears green to represent that she is envious of Nicole's character
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks (Hitchcock lighting)
Shot: close up to really show Marinas true feelings through her eyes and facial expression. (A Hitchcock technique) She is doing one thing but meaning another, listening intently to Adriana but hating every minute of it and being jealous of her.
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Bright wash over Nicole she doesn't have bad intentions. dark silhouette on the wall to infer that her actions in this room may have consequences. (Hitchcock lighting)
Shot: mid shot, this is more casual Nicole isn't saying once thing or doing one thing but meaning another, like Libby's character
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks (Hitchcock lighting)
Shot: close up to really show Marinas true feelings through her eyes and facial expression. She is doing one thing but meaning another, listening intently to Adriana but hating every minute of it and being jealous of her.
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Bright wash over Nicole she doesn't have bad intentions. dark silhouette on the wall to infer that her actions in this room may have consequences. (Hitchcock lighting)
Shot: mid shot, this is more casual Nicole isn't saying once thing or doing one thing but meaning another, like Libby's character
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks and a bright wash over Nicole she doesn't have bad intentions. (Hitchcock lighting)
Mid shot: This shot is more about seeing the characters reactions to something that they are looking at rather than seeing their truest emotions through their eyes.
Straight on angle: Its a door its an observing shot, showing what the characters are seeing to link to their reactions to what they are seeing, it isn't in power or experiencing a lack of power IT IS A DOOR.
Lighting: Just slightly dark lighting, darker themes are being discussed in this scene but nothing to sinister is happening.
Shot: Close up, to show the handle bing shaken in detail to express the fan outside's excitement about the prospect of meeting Adriana. This shows that Adriana is very popular through pure cinema instead of someone saying wow Adriana is such a big star fans come to her door. (A Hitchcock technique)
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks and a bright wash over Nicole she doesn't have bad intentions. (Hitchcock lighting)
Mid shot: This shot is more about seeing the characters reactions to something that they are looking at (A Hitchcock technique) rather than seeing their truest emotions through their eyes.
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Bright wash over Nicole she doesn't have bad intentions. dark silhouette on the wall to infer that her actions in this room may have consequences. (Hitchcock lighting)
Extreme Close up: to Show that Adriana feels strongly about the words she is sayings he really means every word of it. (Hitchcock technique)
Mid shot: To show that Marina is having a genuine reaction to what Adriana is saying. This is represented by the way that she looks up from her book. I wanted to include her notebook in this shot for this reason.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks (Hitchcock lighting)
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Bright wash over Nicole she doesn't have bad intentions. dark silhouette on the wall to infer that her actions in this room may have consequences.
Mid shot: Adriana is still angry but is now finding this funny she isn't as serious about what she was saying and her body language displays this more than her eyes.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks (Hitchcock lighting)
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
mid shot as Adriana leaves the room.
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks
Shot: close up to really show Marinas true feelings through her eyes and facial expression.
High angle: It is just to show what Marina is looking at as a vehicle for her reaction to it. (A Hitchcock technique)
Lighting: Just slightly dark lighting, darker themes are being discussed in this scene but nothing to sinister is happening.
Close up
Straight on angle: Neither character has the power in this circumstance, Marina has not started killing anyone yet and Adriana has not been victimised because of it so as a result the camera is equal, they are equals.
Lighting: Dark and shadowy to infer that Libby's character is more sinister than she looks
Shot: close up to really show Marinas true feelings through her eyes and facial expression.
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