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    Knife in The Water

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    ashish
    The document discusses three key points about the opening scene of the film: 1) It is a single continuous take for over 2 minutes showing a couple driving in a car through passing trees, which was an uncommon perspective for the time period. 2) The background music enhances the strained relationship between the couple. 3) The director was able to keep the camera position hidden and faces clearly visible through using a polarizing filter, demonstrating directorial interpretation and technical skill beyond what would be in the screenplay.

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    Knife in The Water

    Uploaded by

    ashish
    527 views1 page
    The document discusses three key points about the opening scene of the film: 1) It is a single continuous take for over 2 minutes showing a couple driving in a car through passing trees, which was an uncommon perspective for the time period. 2) The background music enhances the strained relationship between the couple. 3) The director was able to keep the camera position hidden and faces clearly visible through using a polarizing filter, demonstrating directorial interpretation and technical skill beyond what would be in the screenplay.

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    Knife in the Water

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    The document discusses three key points about the opening scene of the film: 1) It is a single continuous take for over 2 minutes showing a couple driving in a car through passing trees, which was an uncommon perspective for the time period. 2) The background music enhances the strained relationship between the couple. 3) The director was able to keep the camera position hidden and faces clearly visible through using a polarizing filter, demonstrating directorial interpretation and technical skill beyond what would be in the screenplay.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    527 views1 page

    Knife in The Water

    Uploaded by

    ashish
    The document discusses three key points about the opening scene of the film: 1) It is a single continuous take for over 2 minutes showing a couple driving in a car through passing trees, which was an uncommon perspective for the time period. 2) The background music enhances the strained relationship between the couple. 3) The director was able to keep the camera position hidden and faces clearly visible through using a polarizing filter, demonstrating directorial interpretation and technical skill beyond what would be in the screenplay.

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    You are on page 1of 1

    Point No 1: After 1 mins, 55 sec, when the credit titles are over and Directed by Roman Polanksi

    comes as last credit, one gets to see the faces clearly of the couple and one notices a lady is driving
    the car in the 60’s ( as the film is black and white) , which was uncommon even in Europe in those
    days.
    Point No 2: It is a “Single Take” and the first cut come after 2: 12 min. The camera cut to outside back
    windshield glass of the car. During the long duration single shot, one notices in a poetic manner
    trees shadow keep coming and going on the glass window of the moving car so that confined fixed
    block of the windshield becomes more dynamic (There is a certain theory, how one can dynamize an
    otherwise dead space).
    Symbolic reason of the long take: The windshield of the car is shown with moving
    shadows of passing trees for almost 2 mins indicates a long passage of time in a
    symbolic way which has resulted in a boring married life for the couple (which
    you comes to know later in the film) .

    Point No 3: Background music: The background music is slow and begins with the notes of the piano
    and then it merges with the saxophone. The music in the scene also enhanced the
    strained, a cold relationship as both of them are not taking to each other.

    CRITICAL POINT: How in a single shot till 1min 55 sec one don’t clearly see the faces and without
    changing the camera position and cutting the shot,one starts seeing the faces clearly even when the
    trees shadow are still falling on the glass. It is achieved through a filter called POLARISING FILTER,
    which cuts down the reflections of the glass. Till 1.55 sec it is in off position in front of the lens so you
    see more prominently the reflection of the leaves and after the last credit, assistant cameraman would
    have rotated the filter to effective position so that one gets to faces clearly………….

    Also, how the camera is positioned so that you don’t see the shadow of camera and cameraman, even
    when the shot cut back to 2nd shot from backside through outside window glass and later frontal shot of
    the couple driving in 3rd shot, you don’t see the shadow of camera and cameraman.

    Among 3 important points one of them is very critical. Do you think the screenplay
    writer would have written that in the screenplay and Direction just executed that? Or
    Director interpreted the idea in his own way and then executed. How it was executed?

    This is a part of shot taking: Script writers are not expected to write technical details in the script. He
    MAY have simply written that the film begins with a couple sitting in car and women driving while they
    are going out on weekend holiday.
    It is a Director’s vision that how to make this otherwise dead shot an interesting. That is what we also
    a director’s touch. What a great director can bring in to make the simple scene / shot a great one .

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