Safe House Analysis of Opening Sequence

Safe House is..A 2012 action thriller film starring Denzel Washington & Ryan Reynolds. Directed by Daniel Espinosa and produced by Scott Stuber.

The Cast:

Denzel Washington as Tobin Frost        

Ryan Reynolds as Matt Weston         

Vera Farmiga as Catherine Linklater

Brendan Gleeson as David Barlow         

Sam Shepard as Harlan Whitford        

Nora Arnezeder as Ana Moreau

Narrative A film’s narrative is the storytelling based a chain of fictional or non-fictional events. It

can sometimes be told by a character within a larger narrative. In this case, the narrative follows Tobin Frost (Washington) an ex CIA operative turned

criminal who comes back onto the radar after 10 years on the run. When the South African safe house he is incarcerated in gets attacked by mercenaries, a rookie

agent (Reynolds) escapes with him. Together, the two of them must stay alive long enough to uncover who is hunting them.

Additionally, narrative can be told in 2 ways: Linear and fractured.Linear: starts from point A (normally with some issue that requires resolve) ending at

point B (when the issue is resolved). Fractured: when the story jumps back and forth in time. This tends to force the audience

into piecing things together themselves.Safe House employs a linear narrative. We are able to tell this because the story line is

such and such.Narrative can be displayed through the various uses of cinematography, mise-en scene,

sound and editing.

Cinematography and the narrative..Close up shots are used to show

detail and emphasis on a character’s facial expressions. The viewer becomes drawn into the character’s personal space and is able to empathise with them as the characters take up majority of the frame.

Examples in the sequence:Matt and Ana kiss in the shower (pic 4).Introduction of Ana to the audience,

whom is lying in bed when first seen (pic 3).

Used in conjunction with over the shoulder shots during conversation, used to show Ana’s reaction to what Matt has to say and vice versa (pics 1 & 2).

Shot of a intimate distance shows audience they are in some sort of loving/sexual relationship.Their expressions are lustful and you can see the attraction.

Used to introduce the audience to Ana, her expression is calm and blank.

Helps. to establish the position of each character and alternate between points of view, during a conversation. Their expressions are cheerful and interested.

Cinematography and the location.. 2 types of Establishing shots are used within the sequence. An extreme wide shot in which the character is not even visible. The aim of this shot is to show the character’s surroundings and where the action would be taking place. Secondly, a very wide shot in which a character is only just visible. The emphasis is on them in their environment.

Examples within the sequence:Shots of South Africa (pics 1 and 2).Shot of David on the phone to Matt in USA (pic 3).

Shots of the main setting, South Africa. Where the main character begins in the film.Could connote that the character is eager to get away from home.

Shot shows us that the film does not just take place in one country, but two. Adds complexity to the narrative.

Cinematography and the character.. Mid shots can be used to show the

subject in a bit more detail but still allowing room for gestures, movement and body language to be seen. It is a quite comfortable shot and is also quite neutral as it doesn’t focus on the character’s emotions a lot. Mid shots allow the audience to interact with the character more by being able to see their facial expressions and gestures – as though in conversation with them.

Examples in the sequence:First shot when Matt is boxing (pic

1).When Matt is on the phone at work

(pic 2)Whilst in a phone call with David (pic

3).

Shows Matt boxing, could portray him as an angry/frustrated/ temperamental character. Could also be interpreted as him just trying to stay fit or trying to get his ‘anger’ out.

Diegetic sound of dialogue. The dialogue is uninterested, character seems as if he wants to get it over and done with. Does a night job, may feel as if he lacks fulfilment.

Could be opposite to pic 1, as it shows Matt trying to contain his temper but later letting it out by kicking an object.

Cinematography and character..Character placement within the frame

plays a part in character representation because it can be representative of their status and relationships.

The area near the top of the frame can imply power, dominance, and superiority. The centre focuses audience attention. However, areas near the bottom of the frame can suggest the opposite – such as powerlessness, vulnerability and inferiority. The left and right edges of the frame connote insignificance (within that moment) because they’re furthest removed from the centre. They also connote types of relationship, e.g. If one character is on a higher level than another, it suggests one is more powerful than the other.

Examples within the sequence:David on the phone to Matt pics 1 & 2).Ana and Matt kissing (pic 3).

David is at the top/centre of the frame. He is Matt’s superior, his status shown through his placement within the frame.

All attention is on the characters intimate moment as they are placed in the centre of the frame.

Character placement here shows they are equal and there is no dominance within the relationship as they are both on the same level.

Cinematography and tone/atmosphere.. Camera angles can also contribute to

the tone and atmosphere. They can be used to convey a variation of emotions and situations.

High angle shots suggest subservience or powerlessness. This can connote a weak and vulnerable character. Whereas, low angle shots suggest power and domination, they can connote a strong and authoritative character.

Examples within the sequence:Shot of Ana in bed (pic 1).Shot of Matt with his head down (pic

2)

Natural lighting and a low angle shot suggest purity, vulnerability and nakedness.

Eyeline with Ryan whilst his head is down. Makes the audience feel as if they are closer to him.

Mise-en-scene and character..Mise en-scene is simply the arrangement of scenery and properties to represent the place where a play or movie is enacted.

The properties analysed within the sequence are: Dominant contrast and staging positions can all affect audience perception of the character.

The dominant contrast can be created through object size/colour/focus/lighting etc. In this case, focus will be on costume colour.

The staging position of a character can convey different feelings and emotions. Yet, if a character had their back to the camera – their feelings become mysterious to the audience.

Examples within the sequence:

Mark looking at the CCTV screens (pic 1)Mark on the phone (pics 2 and 3)

Matt is the largest object in the shot, however the colour of his costume blends in with the colour of the background. Also, there is no special lighting highlighting him. His monitoring of CCTV here shows he is probably a security guard, even though he may not want to be.

The audience are left to wonder what Matt is feeling internally as they are unable to see his facial expressions. The light also reinforces the mystery within the shot.

Reinforces idea that he is doing a job he may not want to do. Drab clothing, unexcited facial expressions. Low-key lighting suggests this is a night job, also adds to lack of excitement.

Mise-en-scene and location..

The props here show the 2 characters are living in an apartment. Also, neutral colours show that it is shared (not too feminine/masculine) .

Mise-en-scene can also inform the audience on where and where the story is taking place. This can be done through props, costume etc. In some cases they add a verisimilitude and authenticity to the scene.

Costume can suggest the time period the film is set in without the use of titles. They can also connote a character’s social background and culture. The frequency at which they are changed could indicate how they feel, their wealth and also their status.

Props can show where the story is set and make it easier for the audience to immerse themselves in the action. The use of props help fuel the narrative and keep it going. Lastly, they can also help establish what type of personality and style the character has.

The yellow and blue hue of Mark’s home and workplace contrast. His home, with the lighter tone is where we see him to be happier and intimate with his partner, whereas his workplace with a darker tone is where we see him to be detached and disinterested.

Casual clothing – hoody, jeans, shoes. Shows that the character isn’t necessarily wealthy, and if so – he pays little attention to his appearance.

By Matt’s use of the phone the audience meet another character, helping to build up the narrative bit by bit.

Mise-en-scene and tone/atmosphere..Mise-en-scene can contribute to the tone and

atmosphere of a scene through lighting and camera angles etc.

Lighting can be used to highlight a character/element within a scene. It can also be used to foreshadow what is to come. Additionally, it could be used to set the mood of the scene. For example, low key lighting can create a mysterious, tense setting. Whereas, high key lighting can be used to create a more positive and happier atmosphere. Lastly, light helps to depict characters. E.g, a villain’s (antagonist) environment tends to be dark and use low-key lighting. They can also be backlit or silhouetted, this serves as a connotation for their intentions. However, the protagonist’s environment utilises brighter lighting, reinforcing the fact that they are ‘goodies’.

Examples within the sequence: Matt at boxing (pic 1).Matt getting into his workplace? (pic 2)Matt in the shower (pic 3)

Low key/side lighting highlights only some of the character’s features. Could suggest two sides to him.

Back lighting makes the shot eerie/mysterious and makes the character look unusual. Could suggest negative feelings. Also used to keep the audience guessing who is in the shot.

Lighting allows us to see character’s face clearly, creates a sense of exposure and nakedness.

SoundSound can be used to set the tone within a scene. It can be diegetic (within the scene, characters and

audience can hear it), or non-diegetic (characters cannot hear it but the audience can). Sound adds verisimilitude to any scene and if recognisable by the audience, can make them feel as if they are part of the scene.

Reoccurring sound motifs can be used to add emotion and rhythm to a scene or to depict a character. They normally go unnoticed but definitely makes a difference. Firstly, sounds can foreshadow a change in the mood/tone of the scene. For example, a high toned shrill may be used to signify an upcoming disaster. Or, can be associated with a certain character – so everytime he/she appears, the same sound is played. This allows the audience to make links and also reminds them of certain ideas, themes etc.

Within the opening sequence, there is no sound that is synonymous with the conventions of a thriller. However, generally speaking – thrillers tend to have soft sounds, not too high, however when danger is imminent – the pitch dramatically changes, similar to a shrill.

Editing..Editing refers to arranging, adding to, revising and removing of raw footage to combine them into one

sequence and create a finished film.

Transitions can be used to link scenes together. But in most films and TV dramas, continuity editing is employed instead to create verisimilitude and realism. There are different types of transitions, which all have different effects on the audience.

Jumpcuts are commonplace in thrillers. They are usually used because multiple things are happening at once. By cutting to and fro, the audience is forced to make assumptions about what is happening within the other scene(s). Jumpcuts can also be used to build up suspense and tension whilst the audience anticipate the climax.

Cutaways are also used during the editing stage. These shots are designed to cut away from the principal action and direct the audience’s attention away from it. Meanwhile, crosscutting is used to direct audience attention to parallel action, sometimes going on at the same time – possibly in a different place.Together, they move the drama forward, reveal emotions, develop narrative and character and also provide rhythm and pace to the scene. Within the sequence, crosscutting is used from Matt entering work (pics 1 and 2) and to him at a seaside restaurant with (what we think is) his girlfriend (pics 3 and 4). It could be said that the crosscutting is used as a means to show he’s reminiscing on the past he had with his partner, which is why the lighting and mise-en-scene is brighter – but is then brought back to his miserable present, this being the reason for the darker lighting and mise-en-scene.

Low-key lighting, dull mise-en-scene. Matt wears dark colours.

High-key/naturalistic lighting, beautiful mise-en-scene. Matt wears brighter colours.

Use of titles..Titles are used in film to credit all

companies involved with the making/production of the film.

They are also used to introduce characters to the audience as well as letting them know who the directors/producers/writers etc are.

Titles generally have non-diegetic sound playing over them.

Within thriller movies, the titles are usually begun over a black screen and can continue over action shots.

The titles within the sequence employ ___ font and have a neutral yellow colour, which does not foreshadow anything about the plot.

A few titles within the sequence are as follows:

Universal Pictures presents,In association with Relativity Media,SAFEHOUSE