Watch Movie Clip: The Departed (2/5) Movie

Watch movie clip: The Departed (2/5) Movie CLIP I Want Some Pills (2006) HD http://www.youtube./watch?v=NEwspgySg5s&list=PL31BDBE65690EE474 Elements Design During process envisioning designing a film, director, production designer, art director ( collaboration cinematographer) concerned major spatial temporal elements.

The Departed -- scene analysis

The director, the production designer, and the art director

The Departed is a 2006 motion picture directed by Martin Scorsese, with Kristi Zea as the production designer and Teresa Carriker-Thayer as the art director.

Martin Scorsese was meant to put the script into play by controlling the motion picture's artwork and the dramatic character it was meant to put across. By guiding the film crew and the actors in producing the best results possible the film director is thus meant to have authority over most of the motion picture's production. One can even go as far as to say that the film director is responsible for interpreting the script and providing his own understanding of the storyline. A film director practically needs to do wonders while concentrating on meeting deadlines and on enabling the crew to be able to work effectively while giving its best.

Kristi Zea had the task to cooperate with Scorsese and Michael Ballhaus (the director of photography) in an attempt to determine what the film was specifically meant to look like. Zea also focused on working with costume and set designers with the purpose of being able to reach a common agreement with regard to coming up with a truthful representation of the message that the motion picture needed to put across. Even though the production designer needed to concentrate on the general aspect of the film, she also had to get actively involved in making certain that each section of the production team completed its mission.

Teresa Carriker-Thayer needed to collaborate with the numerous artists involved in producing The Departed in order to make it possible for them to be able to work together in delivering a final product that would be in agreement with the general expectations associated with the film. Teresa basically had the task to work alongside of artists involved in the motion picture in an attempt to devise artistic styles that would best fit the general character of the film.

Lighting

The lighting is dominated by slow falloff throughout this scene, as it obvious that the producers were determined to provide viewers with the feeling that Madolyn's office is a place where patients are supposed to feel calm. It is likely that producers were especially concerned with putting across the feeling that Madolyn's office is no different from a different shrink's office, this is also why this scene is shown as being lit through natural light only, taking into account that this form of light makes it seem that characters are gradually developing a sincere connection. The lighting transports viewers in Madolyn's office and makes it possible for them to focus on how the characters interact as a result of their failure to accept their position in the conversation and, apparently, in society as a whole.

The lighting evokes a calm mood, so as for characters to appear involved in a process that would normally involve a perfectly ordinary conversation between a doctor and her patient. The motion picture has a standard three-point lighting system meant to emphasize each of the character's appearance.

Because of the lighting this scene has a more professional appearance, in spite of the fact that Madolyn is seemingly frustrated with the way Billy behaves and is somewhat reluctant to accept being in her position during the scene. The lighting actually contributes to creating the calm scene that Billy is about to disrupt, taking into account that the scene turns from being normal to being frenzied as the characters engage in an argument and takeover the apparent serenity present throughout the scene.

The scene presents a contemporary setting and it takes place in a shrink's office in North America in the Boston area, according to the accent.

Costumes

The costumes point toward the belief that Madolyn is a middle class professional while Billy is a blue-collar patient. This makes it possible for viewers to understand that Billy somewhat depends on Madolyn and the fact that he stands before her practically makes it somewhat of a subject. The middle-class professional practically holds power over this scene and induces feelings related to authority in viewers. Billy's denim clothes stand as a reference to him generally originating in the lower classes. His clothes do not necessarily point toward him wearing casual clothes, as it actually seems that he did his best to be as professional as he could possibly be by using clothes he had access to. The fact that the two actors wear clothes giving the impression that they originate in different social classes influence viewers to believe that Madolyn is in charge of this relationship. Madolyn's raised sleeves also support the idea that she is a hard worker, as she apparently raised her sleeves to be able to deal with the volume of work that she had in the respective day.

Hairstyle and makeup

Hairstyle and makeup play an important role in this scene. It seems perfectly normal for Madolyn to be careful about how she looks, given that she is a professional and she interacts with people on a constant basis. However, things are different in Billy's case. He apparently went through great efforts in order to look presentable, as he apparently expects to get something out of this meeting and he thus focused on giving the impression that he is an organized individual.