DECONSTRUCTION OF A TEASER TRAILER- ROOM

    

The opening eye level close up of a hand brushing a wall that straight cuts to the side profile of the boy, is under sunlight and uses the idea of shadows as a symbol of the duplicity of the world the boy thinks he is in, compared to the world that is in reality.
The POV low angle close up of the skylight further is to demonstrate the entrapment the two face within ROOM, but further acts as a symbol for the freedom that the mother strives for.

The following two close ups of the mother and the boy, acting as POV of the opposite character, but has a blue tint to the camera or grain (which we will be taking inspiration from). Whilst this is occurring the diegetic (at this point) acapella female voice of a rhyme, demonstrates a comforting whilst haunting track that continues as a non diegetic piece in the beginning of the teaser.

Between all these shots it fades to black to ensure that it doesn't appear as a fast paced montage, to demonstrate the lack of action in the film, since the film has a calm pace which is imitated in the teaser trailer. These over the shoulder close up shots make the son and mother appear very similar in their appearances, almost like match on action, this recognises their close relationship.

We then return to the shadow shot, however it has zoomed out to an eye level mid shot to allow the boy and shadow to be in the frame together, this demonstrates how both the world outside and the world in the ROOM appear to be the same to him.

Camera movement maintains throughout but this accompanies the movement of the characters. The roll of the boy on the bed, and the games of the mother and son, further highlights in the mid shots, how they do everything within the room. But the suffocation and lack of space they inhabit also.

The mid shot of the bath scene that fades to the close up of the mother, opposes the two in the bath, but has the bath positioned in the centre of the screen: this establishes the bleak nature of the setting, but by positioning the bath next to the kitchen it demonstrates the cramped nature of ROOM. Sitting opposite each other they imitate each other, to recognise the youthful nature of the mother as she acts like the child. The close up however, demonstrates the dirt around the bath tub which further shows the poverty they live in.

The low angle of the boy framed in the left third, straight cutting to the mother in the right third demonstrates still a manner of distance between them. There is a faded diegetic screaming of them both to gather attention most likely, yet as it is faint it imitates the manner of how they are not heard by others and just disappear with the wind, a fleeting sound.

The long shot establishing their location, places the shed in the centre, surrounded by trees it recognises the isolation of ROOM, yet the fence on the left hints at the fact that they may be near a domestic setting. The distance from ROOM also demonstrates the small nature of it, emphasising the confinement.

The long shot in the upper corner of the room, acts almost like a documentary shot, where it frames the entire room. Mis en scene of child pictures, and a wardrobe creates the illusion of the domestic. Yet the hanging washing recognises the claustrophobia, and how the room acts as kitchen, laundry room and bedroom all at once. The darkness and low key lighting, makes the mother and son almost invisible in the corner of the room, demonstrating how forgotten they are by the outside world.

The eye level high angle shot as a POV of the window demonstrates the whole room, to understand the poverty that she experiences and the claustrophobia of the room, further the entrapment she faces from it.

The use of low key lighting in this side profile close up alludes to the identity of the capturer, we only can notice small aspects of his facial features. This may be something to take inspiration from if we want to only allude aspects of the offender.

The high angle confined shot of the boy in the wardrobe, opposes the darkness of the space and the wasted darkness, that contrasts to the bright colourful pillow. We can only see a slight subtlety to the figure of the child almost hiding in fear.

The close up of the the female looking up uses natural light as a key light to highlight her misery, then straight cuts to her POV of her looking up in a close up to the source of natural light. This has the blue window surrounded by darkness, a symbol you could suggest of hope.

Here the low key lighting, similar in the close up of 'Old Nick' since we can only faintly recognise the child hidden behind slats, and then his POV of the room immersed in darkness. Here we can see a faint figure of the man, again alluding to the identity of the captor.

The high angle tracking shot following the truck uses the redness to allow it to stand out, but further highlights the danger surrounding it. Hence why there are no other cars or automobiles in sight so that all attention is on the moving vehicle. It appears quite daunting and a little disorientating as both the truck and the camera move together, this makes it appear more realistic as the truck isn't creating a distance from the camera but following it to keep up with the action.

These montage of extreme close up is to imitate how the child feels and experiences the escape, but is also subliminal in its means of how the audience are still unaware of what is happening outside of the rug. This we will attempt to imitate in the sexual assault scene. The lack of light only evident in key light provided by sunlight is another aspect we will use also since it adds to the realistic aspect since it doesn't require studio lights but works with the natural surroundings.

These high angle shots demonstrate the action within the truck, zooming in on the child, it reveals not only his escape, but if the shots were reversed we would be unaware the boy was in the truck until it was revealed. Therefore we do lose the ambiguity, yet it is likely to appear more factual being social realism.

These POV shots we will attempt to imitate, they are low angle shots of the nature from the child's perspective of his surrounding nature. They are blurry and dazed at first but evolve after to clarity, this is the understanding or recognition as a gradual process. It is to demonstrate the awe or even sublime the child experiences when finally witnessing nature in person, it being both an alien and new experience for him.

This is a particularly important shot, the high angle close up is almost a POV of the sky, the child lays there on the rug and its face is what makes the shot. The mixture of awe, confusion and fear is completely human, which only aids to the social realism aspect. This pure example of emotion clear facially is what we will require from our actress when scouting, as this will evoke more compassion from the viewer but further make it appear more real in order to work with our genre.

The blurry ambiguous POV close ups of police sirens we will further take inspiration from, as it is clear that they are police sirens without needing to reveal the entire car. It imitates the confusion of the child in the aftermath of his experience, that the protagonist will have also.

The pan of the close up eye level shot of the boy in the car as a low key light demonstrates the reflection of the passing lights, has the boy almost seem like a bedraggled shadow, to highlight his poverty and unkempt manner. But also to create a contrast from him to the other characters such as the officers.

The use of the red lights skimming and highlighting the mothers face, further hints at the police sirens, but reds connotations of danger can also be mentioned. The use of the surrounding darkness the mother is running from as a means of wasted space, is to illuminate how she is escaping her horrible past.

The hints of blue within these scenes is what we will attempt to utilise, as a small aspect or object of blue continues the colour palette within the scenes, these are seen on the drinks cup, his jacket and his shirt, completing a theme within the mis en scene.

The final shots of the low angle view of the snowy sky, and the long shot of the boy running alongside the beach finishes this blue theme throughout, but demonstrates a sense of freedom that they now experience after being liberated from their capture.