Film blog

Wright's one shot opening credits begins as a low angle shot showing the height of the building Baby is about to come out of. We can see the words Baby driver as the non diegetic music begins.However as this pans down and becomes a mid tracking shot we realise that the music is actually internal diegetic sound as only Baby can hear it.  This sequence is like a classic dance break from a musical because the way Baby walks round the streets of Atlanta is to the rhythm and beat of the music. The mise-en-scene is very important in adding to the smooth feel of the dance number because as Baby passes certain parts of the road it mimics parts of the song we are listening to. The frame above shows the verb move on the parking machine which is on his left. This particular line from is "move it to the left". Following Baby down the road, he grooves to the beat of the song, an ordinary thing to do but this contrasts his next action which is to spin round facing the wall so that t

Tarantino begins his scene with a tracking mid-shot, in this shot he also uses the rule of three to show that there is an absence of people on the bride's side of the church. This shot could also symbolise the whole message of the scene, by the guests on the grooms side representing her potential future and the empty pews; her dark and friendless past. Thurman is in the middle third of the shot (rule of three) and is walking down the aisle. this could be seen as her walking the line between her past and her future. Something the whole scene is about, whether she will be able to start a new life or will her past always catch up with her. This then transforms into a shot reverse shot when Thurman hears the diegetic flute playing from Carradine. This shows that before the character is seen we, the audience knows that The Bride recognises who the mysterious figure is and that they mean something to her because she looks to find him, then on not being able to see Bill she checks to s