Week 4: Anticipatory Camera and DoF in "lock, stock & two smoking barrels"
The movie works a lot with different camera angles and plays with light and depth of field. A lot of scenes take place in bars, where the camera focuses on the actors, but the viewer still knows where the action takes place since bottles of drinks, bar tables and stools or the bar itself is visible blurry in the background.
During conversations the anticipatory camera turns to the next character to speak, before he raises his voice.
One scene starts with an extreme close up on the smoking top of a long gun barrel, while the person holding it as well as the rest of the room visible are extremely out of focus and blurry. Thus, the viewer gets a sense of being the aim as he looks directly into the shooting holes.
An interesting shot is about one hour into the movie, when the camera is hold closely to venetian blinds on a window. While the blinds are on focus in the beginning of the shot, the focus shifts so that the foreground becomes blurry, so the viewer can only just make out that he is looking through a slot of the blinds, as the characters look out the window secretly to see what is going on on the street (Shallow DoF).
A similar shot is used later in the movie, only that the blinds are broken and covered in blood. The characters who were looking through slots of the blinds from the inside earlier are now approaching the window from outside, to see the mess inside.
Some scenes are interesting in regard to the use of the Rule of Thirds. Most of the times, the frame is set quite typically, but in some scenes the characters are set extremely wide to the left or right side of the frame, outside the lines of an imaginable "grid" of three by three fields. While only half of the character's face of interest is visible, another object in the shot becomes the centre of interest. It seems like that object is not important at the time but it is later in the movie (e.g. the magazine of the auction of the antique guns).

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