SWORDFISH Opening

The SWORDFISH firstly begins with the title screen, made to represent a computer screen, displaying ‘SWORDFISH’ – the viewer is aware of this due to the type transition that it occurs through. The opening also displays incidental sound, a very dramatic, tense and almost chilling piece of music that reacts with the audience due to its high pitch – this is strange when compared against the rest of the clip as it appears to only be a meeting and there is nothing of the sort, if anything, it is the dialogue that would cause for concern to brew the dramatic opening.

This clip is extremely unusual, but not as much as Ocean’s Eleven where it remained for one entire shot for a whole minute, SWORDFISH does quite the opposite, but holds the same capitation idea of Ocean’s Eleven to present the main character and of cause create a representation.

The clip ranges between close ups, side close ups from the right hand view, extreme close ups and mid shot views of the main character as he explains about the morality and realism of ‘TV’, film and media.

00:06

After the title, this clip begins immediately with a close up of the main character (John), saying ‘you know what the problem is,’ – giving an immediate addressing to also the audience as well as shot in introduction. The quality of the clip as well is not as expected from an opening film; instead it continuous on upon the representation that the SWORDFISH title had been upon a computer screen and this is following on; the audience can tell by the streak line quality in the shot (furthermore, the ‘glitch’ experience that would have been interested via effects as the line streak on the shot).

The dialogue also gives the slight representation of this character, which he formally addresses, by tone and context of speech, which he is educated yet negatively intensive upon the subject he is talking about. The use of mise en scene, having him have facial hair, appear well kept, appropriate with appearance and with suit, suggests that he is more of a modern man, one which steps away from stereotypical ideology in representation, to instead reveal a man who is more aware of his appearance; however there are no representations of the character being caring (e.g. ‘the blonde girl gets it – it suggest the total opposite and instead creates the stereotypical representation of men being stronger than women). This shot, dialogue and mise en scene combine to also create the representation of a higher class, particularly at, 01:04 when he is lighting a cigar, 00:45 when the blur focuses upon the coffee table and the mug and 03:26 when he draws his attention to his watch – all of which combines through mise en scene to represent this character as being a part of the higher class, thus appearing to be so articulate, well taken care for, focused upon money and not able to care for those he tramples in his way to get what he wants, albeit the stereotypical representation.

Being able to note the under lying music also is important as it sets the scene for which this character explains his plot through dialogue, which is intense, directive, due to shots and physical expression of the character. The incidental music is rather quiet, but is loud enough to effectively ‘set the scene’ as it were as it is tense, creating anticipation; the audience again experience that high pitched tone.

Examples of clos ups occur at: 00:16 – 00:54 – 01:23 and continuously as the clip reverts back to close up every other shot in the clip. Doing so draws emphasis, attention to John, and therefore the audience is drawn to his words as the weird, almost disorientating use of jumping between different angle shots works effectively. Close ups particularly, are used from different angles, as though to create a swaying motion –

Though this clip is extremely effective, it is in many ways simple. One of ways which it does this is the tracking and motion of the shot as John moves about – he’s lively (doing this so that the clip does not become boring, aids towards jumps in editing and the motion; also helping to increase disorientation). In many ways, this clip is attempting to be as true to life as possible as well, because the motion moves so fluently with the motion of John’s body, it reflects what the human eye would do. A particular example is the image bellow, where it is focused on the upper part of his body rather than his head whilst he’s talking.

Though this clip was given the impression to be a video computer screen of some sorts, it comes very reflective on the effects of what the human eye would do; particularly blur than anything else. The image bellow is an example, but there is also another instance such as 02:20 and 02:21 – the image was taken at 00:41 – 00:45. It reflects exactly what the human eye would do in focus of either John, or the coffee table, blurring either depending on point of focus. Whilst the shot sets out to do this, it also reflects the mise en scene of the setting as very slight points are made. The representation of upper class had already been made (a majority portrayed by the mise en scene of John and the reflection of money) the concept of him being in a coffee shop aids to this representation – the upper class have money to go shops, stay, and by the luxurious tone of the glass table and what appears black leather seats behind that it is ‘posh’ (even the cigar adds to representation as upper class people or those with money are able to afford them).

02:00

At this point it becomes the first example that John is literally speak to someone – however due to eye line direction and physical language expression, it was suggested. How it is done is interesting however, as it is around a mid-shot, zooming out onto the right hand shoulder of the back of another character (the face or any other part of which the audience do not see in this clip), creating a shoulder / reverse shot. This is possibly better and more unique rather than producing a reverse shot onto the second character, it creates the further effect that the audience has to be focused on John and nobody else – they are drawn to his words and thus the narrative (and important feature as it establishes the character, narrative and introduction / explanation).

02:59

There is again another shoulder shot, unlike the first, it is again another mid-shot which pans right onto the side face and shoulder of another character (establishing that John is directing his attention towards a company, thus reflecting the ideal that he is ‘pitching’ an idea as addressed earlier). From this shot, he is slightly out of focus during pan; John’s shoulder is still in focus, until about 03:04 – it becomes clear to the viewer that this character is also wearing a suit, that his fair is neat; creating the representation that he takes care of his appearance. It also creates the representation that this character is also alike John, which he is from the same upper class also. However it is important to address the nature of the reverse shot, as John is shown in the first and not in this one, it makes the audience wonder if they are enemies towards one another (much like The Departed at the bar scene).

From SWORDFISH, I’ve been interested to look into editing effects (the computer screen effect and glitch) as well as the jump between numerous close ups, mid shots, and how and what the camera focuses on during John’s speech – how the reality of the clip is created.