Useful Quotations
Nanna Maria
This place is boring as hell. Before there used to be loving and singing and swearing and fighting….
Today I want a feast. I want a great big feast day. I want only the grandchildren, not my children –
they're useless. And no outsiders…
Nanna Maria
I want red wine – the kind that comes in a bottle, not in a box. And I want Father Francis from the
church. … In Sicily, when they have a feast, they drink red wine, everybody sings and there's always a
priest.
Hibiscus
Yeah, but Nanna, Sicily's in like Europe and we're in Mt Roskill.
Soul
You open that front door, some Fijian spirits will come in the night and bite your balls off.
Maria
My mother's from Copenhagen, my father's from Bratislava. We're all a bit like that, aren't we? Fruit
salads.
Nanna Maria
This is what I wanted. Everything's perfect. Everything is perfect. I have some grog, good company.
Those girls cooking food. Those boys working hard.
Nanna Maria
How are they going to learn anything if they have to go to school all the time?
Aunty Cat
I'm your elder. I'll tell you what to do, not your brother.
Soul
Tyson
Soul
Rosemary? Anchovies? Is she making a pizza?
Fijians don't make pizza, man
Where's the steak, man? The lamb chops?
Hibiscus
I'm not staying here if you kill that pig. It's barbaric! Why can't we just go to the supermarket and get
some pork chops like everybody else?
Nanna Maria
He was a sangamoa, a dirty sailor. And Tyson takes after him.
Nanna Maria
I don't know what kind of Islanders these people are. They have been living in this town for too long.
Maria
How traditional is it that you have to kill a pig?
Tyson
Try getting a job, mate. You've got no idea what I do for the family.
Soul
Racist? I'm a coconut, you idiot.
Aunty Cat
There you go, Percy. Well done. This is your boy, you see? That's very good parenting, my brother.
Aunty Cat
Giving this house a bad name, as usual. I can't believe the shame you people bring on the family.
Erasmus
Look I haven't slept for 48 hours and I don't give a damn any more. But we're going to go inside, clean
this mess up, and then go and have a feed.
Soul
You don't even sound like a grown-up. … The door's an excuse. The house is cursed because you
guys don't come around here. It's cursed because you guys bitch at each other like little kids. It's
cursed because Mus's dad died, and it's cursed because your whole generation hates each other's guts.
And you say it's about a door.
Percy
This house is cursed because my brother and sister just want the old lady to sell it. They want her
tucked away in an old folks' home like some papalangi. What you're trying to do for the old lady is good.
But you should have known not to invite us.
F. Francis
She's a very contradictory woman.
Soul
Every day I try to do something for my family.
John
You've got a cheek, boy. Who do you think you are? You're an embarrassment to this family. You are
a disgrace.
John
This isn't about old ways, son. It's about respect.
Nanna Maria
You just wanted me to move out. Curl up somewhere like an old woman. Then you could sell the
house. Well, you know what? It's too late for that now. My grandchildren are in charge. They are
taking care of everything.
Nanna Maria
While I'm still alive, I'm still your mother. I rule you – you don't rule me.
Nanna Maria
When I'm gone, I want you to run this house just like you do now…
Nanna Maria
That tabua is very sacred. It was given to my father by the king of Levuka. I gave it to my son Michael
when Joseph died and now it's yours. … I want you to sing and laugh and dance – and fight. [to Soul]
With you in the house, it will be always alive.
24
Glossary
kava
Kava is both a plant and the beverage made from the roots of the plant. The Latin name for kava is Piper
methysticum which translates as "intoxicating pepper".
In Fiji, where it is called yaqona, it is considered the national drink. Originally only drunk by the chiefs, Fijians
have incorporated kava into many social rituals: kava ceremonies are performed to welcome guests, honour
royalty, and, even, begin a business meeting. In a typical Fijian kava ceremony, participants gather in a circle
around the tanoa, kava bowl. The offering of kava begins with those being honoured according to their status.
Participants clap three times, say 'Bula', a Fijian word meaning 'health' or 'life', drink their coconut shell of kava
all at once, and clap twice more.
The beverage is made from the roots of the plant. The kava root is
reduced to pulp, put in a large, wide bowl and is mixed with pure, cold
water. It is not cooked or distilled. The amount of water determines the
potency of the final kava drink. Once kava root is mixed with water, it is
kneaded or stirred for a while until the water has a muddy, opaque,
somewhat yellow appearance; it is then strained.
For ritual use in Fiji, unlike the Polynesian islands to the east, it was
always young men who prepared the kava.
making kava in Fiji in early 1900s
papalangi
A variation on palagi, the Polynesian word for 'white people, Europeans', cf. the Maori pakeha. Not a
specifically Fijian word.
sulu
Modern Fiji's national dress is the sulu, which resembles a skirt. It is commonly worn
by both men and women. Many are elaborately decorated with patterns and designs.
Many men, especially in urban areas, also have sulu tailored as part of their suit;
many will wear a shirt with a western-style collar, tie, and jacket, with a matching sulu
and sandals. Even the military uniforms have incorporated the sulu as part of their
ceremonial dress. Trousers are rarely worn by indigenous Fijian men.
tabua
The tabua (pronounced 'tam-bua') is a sperm whale's tooth and is a much-prized
possession. Presenting someone with a tabua is the ultimate symbol of respect. Tabuas are of great
significance in any Fijian ceremony, whether family, inter-tribal or state occasion. They feature in births,
deaths, marriages, when welcoming visitors or asking favours. They are used to seal contracts and reconcile
differences. Tabuas are not bought and sold; they circulate from family member to family member, from tribe
to tribe, as they have done for generations.
Useful Vocabulary
matriarch
A matriarch is a mother or other female person in a family who is responsible for the well-being of the clan or
extended family. The term is usually applied to the oldest female in an extended family, who by virtue of her
position has a degree of granted authority because others have trust in her.
hierarchy
Categorisation of people according to status. In this case, the older members of the family have authority over
younger.
25
The Music

"The Medicine"
by Tha Feelstyle

"Bathe in the River"
by Hollie Smith ft. Mt Raskil Preservation Society

Overture / "Sai Levuka Ga"
by Don McGlashan

"Waka"
by Che Fu

"Early Morning, No. 2"
by Don McGlashan

"Mt Roskill/Chasing the Pig"
by Don McGlashan

"Hold Tight"
by Che Fu

"Wai Ni Bu Ni Ovalau"
by Fijian Festival Performers

"Nanna Takes Control/Meke"
by Don McGlashan

"Core 'ngrato"
by Shaun Dixon

"Nanna's Entrance"
by Don McGlashan

"Chulu Chululu"
by Mila with Eddie Lund & his Tahitians

"Break it to Pieces"
by Tha Feelstyle

"Home, Land and Sea"
by Trinity Roots

"Intermezzo" from Cavalleria Rusticana
by Christchurch Symphony Orchestra
Core 'Ngrato / Ungrateful Heart, by S. Cardillo and R. Cordiferro
Catarí, Catarí…
pecché me dici sti parole amare,
pecché me parle e 'o core me turmiente,
Catarí?
Nun te scurdà ca t'aggio dato 'o core,
Catarí, nun te scurdà!
Catarí, Catarí,
ché vene a dicere
stu parlà ca me dà spaseme?
Tu nun'nce pienze a stu dulore mio,
tu nun'nce pienze,
tu nun te ne cure
Core, core 'ngrato,
t'aie pigliato 'a vita mia,
tutt'è passato e
nun'nce pienze chiù.
Catari, Catari…
why do you speak to me such bitter words,
Why do you speak only to torment my heart,
Catari?
Do not forget that I have given you my heart,
Catari, do not forget!
Catari, Catari,
why do you speak
just to put me in agony?
You never think of my sadness,
You never think,
you never seem to care…
Ungrateful heart,
you took possession of my life,
and now it's over,
you no longer think of me.
Catarí, Catarí...
tu nun 'o ssaje ca fino e 'int'a na chiesa
io só' trasuto e aggiu pregato a Dio,
Catarí.
E ll'aggio ditto pure a 'o cunfessore:
"Stó' a suffrí pe' chella llá...
Stó' a suffrí, stó' a suffrí."
nun se pò credere...
stó' a suffrí tutte li strazie!
E 'o cunfessore, ch'è perzona santa,
mm'ha ditto: "Figliu mio
lássala stá, lássala stá!"
Core, core 'ngrato,
t'aie pigliato 'a vita mia,
tutt'è passato e
nun'nce pienze chiù.
Tutt'è passato e nun'nce pienze chiù!
Catari, Catari…
you do not know that even in church
I bring my prayers to God,
Catari.
And I recount my confession to the priest:
"I am suffering from such a great love!
I am suffering, I suffer
from not knowing your love,
I suffer a sorrow that tortures my soul!"
And I confess, that the Holy Mother
Spoke to me: "My son, you must
never forget, never forget!"
Ungrateful heart,
you took possession of my life,
and now it's over,
you no longer think of me.
And now it's over, you no longer think of me!
26
Main Cast
Ruby Dee
~
Nanna Maria
Antony Starr
~
Shelley
Tuva Novotny
~
Danish Maria
Pio Terei
~
Uncle Percy
Mia Blake
~
Charlene
Brandon Lakshman
~
Moses
Taungaroa Emile
~
Soul
Tayla-Lee Griffin
~
Nia
Tanea Heke
~
Aunty Cat
Joe Folau
~
Pule
Xavier Horan
~
Tyson
Michelle Ang
~
Grace
Nathaniel Lees
~
Uncle John
Te Paki Cherrington
~
Father Francis
Miriama McDowell
~
Hibiscus
Margaret Emma Rhodes
~
Aunt Marama
Rene Naufahu
~
Erasmus
Andy Wong
~
Peter
Facts about the film
The film is produced by Australian Film Institute award-winning Producer Tim White (Two Hands, Oscar &
Lucinda), Lydia Livingstone and Philippa Campbell (Rain), and funded by the New Zealand Film Commission,
Working Title Films, Miramax Films, and NZ on Air.
Behind the scenes were some of the New Zealand film industry's leading personnel:
Director of Photography: Leon Narbey (Whale Rider, Perfect Creature); Production Designer: Phil Ivey
(Perfect Creature); Costumes: Kirsty Cameron (Whale Rider, Perfect Creature); Editor: Chris Plummer (In My
Father's Den); Casting: Diana Rowan (Whale Rider, In My Father's Den); Composer: Don McGlashan (An
Angel at My Table).
Miramax Films/BVI acquired the New Zealand and Australian distribution rights; Working Title Films has
distribution rights in the United Kingdom, and NZ Film, the sales arm of the New Zealand Film Commission, is
handling international sales.
No. 2 commenced principal photography March 3, 2005 and wrapped April 17, 2005. The 37-day shoot
occurred during a vintage New Zealand summer. Post production was completed at Peter Jackson's facility
Park Road Post in Wellington.
Festivals and Awards
Atlanta Film Festival 2006: Best Actress Award ~ Ruby Dee
Sundance Film Festival 2006: Audience Award, World Cinema, Dramatic
Brisbane International Film Festival 2006: Audience Award
Berlin Film Festival 2006: Official Selection
New Zealand Screen Awards 2006
Won:
Best Actress
~ Ruby Dee
Supporting Actor
~ Rene Naufahu
Supporting Actress
~ Mia Blake
Achievement in original music
~ Don McGlashan
Nominated:
Best Picture, Director, Screenplay, Cinematography, Editing, Contribution to a soundtrack (Tim Prebble, Mike
Hedges & Dave Madigan); Supporting Actor (Xavier Horan) and Supporting Actress (Miriama Mcdowell)
27
The Complex Make-up of a Movie
screenplay
 plot, characters, setting, themes, structure
Toa Fraser
 wit, humour, allusions, motifs, clichés

producers
 organisation, finance, location scouting;
Philippa Campbell
 employing, feeding and accommodating cast and crew;
Lydia Livingstone
 getting everybody to the right place at the right time;
Timothy White
 and a thousand other tasks
casting
 actors – leads, supports, bit parts
 extras (do not speak)
Shaheen Baig
Diana Rowan

Director
 style, tone, lighting; overall vision
Director of Photography
(Cinematographer)
 style, tone, lighting, colours, motifs
Production Designer
 creates the world, the look of the film
Art Director:
 colours, props, details of scenes
Nick Bassett
Set Decorator
 furniture, furnishings, props etc
Milton Candish
costumes
 designed or bought
Kristy Cameron
makeup
 minimal or complex
hair
 styles ( + wigs etc if required)
sound
 natural or artificial
Michael Hedges
sound effects
 as required
David Madigan
sound effects editing

music
 original or found
visual effects

Weta Digital
special effects (SFX)

Jason Durey
editing
 pace, style, juxtaposition; montage
Toa Fraser
Leon Narbey
Philip Ivey
Tim Prebble
Don McGlashan
Chris Plummer
and 29 others credited
Pre-production: screenplay, storyboarding; location scouting; set design & decoration; costume design,
casting.
Production:
filming on set or location – actors, costumes, makeup; cinematography etc
Post-production: editing, adding SFX, music, sound effects, sound effects editing, etc
28
Scene List
1. Nanna Wants a Party
1.
INT. NANNA'S HOUSE – NIGHT: Nanna sits in the dark at the table, smoking
2.
EXT. STREET and CAR – EARLY MORNING: Erasmus arrives home.
3.
INT. HOUSE – NIGHT: Erasmus gets something to eat and drink.
4.
EXT. GARDEN – NIGHT: Nanna demands a feast.
5.
INT. HOUSE – NIGHT: Erasmus wakes up Charlene.
2. The First Arrivals
6.
INT. TYSON'S HOTEL ROOM: Tyson refuses to help with the party.
7.
EXT. NANNA'S HOUSE – DAWN: Charlene and Erasmus agree the party won't happen.
8.
Auckland and Mt Albert
9.
EXT. STREET – MORNING: Soul arrives with his little sister
10.
INT. NANNA'S HOUSE: Soul has brought a fish from his father.
11.
EXT. STREET OUTSIDE NANNA'S HOUSE: Hibiscus arrives with a plate of biscuits and Shelley.
12.
INT. NANNA'S HOUSE: Nanna says she will announce her successor at the feast.
3. Tyson Arrives
13.
EXT. NANNA'S PLACE – DAY: Nanna starts to gather up the rubbish in the garden.
14.
INT. NANNA'S HOUSE: Hibiscus wants Shelley to stay; Charlene says they need Tyson's "gold card".
15.
INT. TYSON'S ROOM // NANNA'S BACKYARD: Erasmus phones Tyson who agrees to call in.
16.
EXT. NANNA'S HOUSE: Nanna sits in a deck chair to watch the trees fall.
17.
EXT. NANNA'S HOUSE: Pule has brought a live pig; Tyson and Maria arrive.
4. What Happened to Those Trees?
18.
INT. / EXT. NANNA'S HOUSE: Nana and Maria share kava.
19.
EXT. / INT. NANNA'S HOUSE: Cat arrives.
20.
INT. NANNA'S HOUSE: Cat, Charlene and Hibiscus argue in the kitchen.
21.
EXT. NANNA'S HOUSE: Maria tells Tyson she wants to stay. Nanna is pleased.
22.
EXT. NANNA'S HOUSE: Tyson and Soul take a shopping list and go to Soul's car.
5. Getting Supplies
23.
INT. THE CARAVAN: Charlene wants the pig taken away.
24.
EXT. STREET: Soul invites Father Francis to the feast.
25.
INT. THE CARAVAN // EXT. GARDEN: Nanna tells Maria about her husband Joseph.
26.
EXT. STREET: Erasmus breaks into Tyson's car so Maria can get her bag. Hibiscus takes off in Tyson's car.
27.
INT. / EXT. KITCHEN / YARD: Cat says Nanna has mortgaged the house to pay for the renovations.
28.
EXT. SHOPPING CENTRE: Hibiscus complains to her father John about Nanna's demands.
6. The Accident
29.
EXT. TOP OF MT EDEN: Percy is giving tourist information when Soul arrives to ask him to come to Nanna's.
30.
EXT. BACKYARD: Nanna Maria suddenly erupts with anger; she cancels the party and goes to bed.
31.
EXT. SHELLEY'S PLACE: Soul picks up Shelley, who climbs into the back of the truck. Soul and Tyson argue.
32.
EXT, STREET: An accident is averted, but Hibiscus crashes Tyson's car.
29
7. Erasmus Takes Charge
33.
INT. CARAVAN: Charlene tries to wake Erasmus who is asleep
34.
EXT. STREET: Erasmus takes charge; he and Shelley set off to kill the pig.
35.
INT. NANNA'S BEDROOM: Nanna lies in bed, an oxygen mask over her face. She sings in Fijian.
36.
MONTAGE: Erasmus / Maria / Nanna sings / the boys walk up the hill
37.
EXT. BACKYARD // STREET // INT. HOUSE: Percy tells Soul the story of Vlad the Impaler; he leaves.
8. Father Francis's Advice
38.
INT. NANNA'S BEDROOM: Charlene makes Nanna comfortable, re-applies her lipstick.
39.
INT. / EXT. CHURCH: Soul arrives at the church to get the trestle tables.
40.
EXT. STREET / AUNTY MARAMA'S GARDEN: Pule's Nanna is persuaded out of her garden.
41.
INT. NANNA'S BEDROOM: Nanna Maria lies on the bed.
42.
MONTAGE: preparing the feast
9. Fighting and Dancing
43.
INT. KITCHEN: Tyson runs an ice cube up Maria's arm, neck, face
44.
EXT. BACKYARD: More guests arrive – with food. Soul provokes a fight with Tyson.
10. The Door's Open
45.
EXT. NANNA'S HOUSE – THE FRONT PORCH: Soul opens the front door.
46.
INT. KITCHEN: Nanna tells her children that they have left it too late.
11. A Special Dove
47.
EXT. BACKYARD: the feast is prepared
48.
INT. KITCHEN: Moses tells Charlene Nanna is asking for her.
49.
INT. NANNA'S BEDROOM: Nanna tells Charlene she will inherit the house.
12. Hibiscus Sings
50.
EXT. BACKYARD – EVENING: the feast.
13. Nana's Successor
51.
EXT. BACKYARD continued: Nanna names Soul as her successor.
52.
INT. KITCHEN: Charlene tells her mother to leave the dishes.
53.
EXT. STREET: Soul asks Grace to the party.
14. The Party Continues
54.
EXT. BACKYARD: The party continues
55.
INT. NANNA'S BEDROOM: Nanna lies dead on her bed.
15. End Credits
30
Glossary of Film Terms
ambient sound
animation
art director
aural bridge
auteur
backlighting
back [rear] projection
body language
camera angle
cinematographer
close-up [C.U.]
continuity
crane shot
credits
cross-cutting
cut
cut-away
deep focus
dissolve
dolly
dub
editing
establishing shot
exposition
fade-in
film noir
flashback
focus
footage
frame
freeze frame
gaffer
genre
grain
hand held camera
high key lighting
inpoint
insert [cut in]
jump cut
location
long lens
long shot /L.S.
master shot
background sound (not music e.g. bushes rustling): footsteps etc to match action = FOLEY effects
The process of assembling drawings to be photographed one frame at a time, to create an illusion of
movement. Cartoons are best-known form of animation.
The designer of sets and costumes.
hearing the sound of the next shot before cutting to it - signals a transition
A director (or occasionally some other type of film-maker) with a recognisable style and view of life.
Light from behind a person or object, sometimes creating a halo effect.
Adding a filmed background to live action, so it looks as though the action is taking place in that location.
The way our feelings are expressed through our body.
The angle at which the camera is pointed at a person or object (high, low, neutral = eye-level). A camera tilted
to one side so the horizon is on a slant is canted or tilted (not to be confused with a 'tilt shot'.)
A movie cameraman, usually the 'director of photography'.
A camera shot that seems to bring us close to the person or object being filmed; a shot of a person's face only
is a 'close-up'. + 'Extreme close-up' [E.C.U.] or 'big close-up' [B.C.U.].
The script supervisor keeps a record of 'takes' and makes sure that the details are consistent from one shot to
another (e.g. a character must wear exactly the same clothes even if a scene is shot over several days).
A shot taken from a crane (a kind of high angle shot).
The list of cast, crew, and other people involved in making a film. 'Head credits' at beginning; 'tail credits' at
end.
The alternating of shots from two different sequences, often in different locales, suggesting they are taking
place at the same time.
The place where one shot has been spliced to another.
A brief shot inserted into a sequence showing something connected with the sequence but outside the action,
e.g. a shot of the audience watching a show or a game that is being filmed.
Every object is in focus to a great depth. [cf. shallow focus]
One image fades in while another fades out, so that they are superimposed for a few moments.
Any platform with wheels that allows the camera to be moved: 'dolly shot', 'tracking' or 'trucking' shot.
To record dialogue after a film has been shot, usually replacing one language with another.
The process of selecting, arranging and trimming the various shots to make up a film.
Usually a long-shot, it gives an overview of a scene so the audience is not confused about what is happening
and where.
The basic information that must be supplied to an audience at the beginning of a story, so they can follow the
story and feel involved with it.
An image appears out of blackness, gradually brightening to full strength. Fade-out = image fades to black
A French term ('black cinema') for a genre of thrillers in which the universe is despairing and fatalistic.
A return to a scene in the past. (A flash forward = a premonition of the future.)
The sharpness of an image. To focus a camera is to adjust the lens so that it gives a sharper image.
The amount of film used, or to be used (measured in feet or metres).
A term used to refer to: 1. any single image of a film (there are 24 frames per second)
2. the rectangular shape of the image (like the 'frame' of a painting).
A single frame repeated many times so it looks like a still photograph.
The chief electrician in charge of the lights. Their assistant is the 'best boy'.
A type of film (e.g. the western, sci-fi.).
The texture of the film emulsion. A film image with coarse texture is said to be 'grainy'.
The camera is sometimes held in the hand, even though a tripod gives smoother results. see Steadicam.
Bright lighting, usually provided by one source of light (the 'key light').
The detail or image at the beginning of a scene, selected for its impact, or because it provides a smooth
transition from the previous scene to the new scene. Compare OUTPOINT.
A detail shot (for example a close-up of a letter), or a brief shot inserted into a sequence showing something
connected with the action, perhaps as a reminder of what has happened, a hint of what might happen, or
something which will become important. An insert differs from a cutaway in that the cutaway is of action not
covered in the master shot.
An abrupt transition between shots, usually deliberate, which is disorienting in terms of time and space; a
startling transition that requires a leap of the imagination. Peter Jackson uses the term 'crash cut' for really
shocking jumps.
A place, other than a studio, where a film is shot.
A lens with a long focal effect that has a telescopic effect.
A shot from a distance - it shows a person from head to foot, and perhaps more than this.
A long take of an entire scene, into which other shots e.g. reaction shots, are cut.
31
matte
medium [mid] shot
mise en scène
montage
morphing
outpoint
off camera [O.C.]
over-shoulder shot
pan
parallel montage
point-of-view shot
pull focus
reaction shot
reverse angle:
rough cut
screenplay
set-up
shallow focus
shooting/ filming
shot
side lighting
Skycam
soft focus
sound mix
sound effects
special effects [SFX]
Steadicam
still
storyboard
sub-text
synchronisation
subjective shot
take
telephoto lens
texture
tighter shot
tilt shot
tracking shot
two-shot
video
visuals
voice over [VO]
wide-angle lens
wipe
zoom
A process of combining several images during the printing process (e.g. to add a background).
[M.S.] A shot between a close-up and a long shot in the sense of closeness it creates.
Getting a scene together, the choices made about the details of the imaged; what items will be in it, and how
those items are to be presented.
A fast-moving sequence in which many shots are combined - to create a mood, or to sum up a long process,
to suggest connections. A series of short clips which add up to more than the sum of the whole. Compresses
a passage of time into brief symbolic or typical images.
Transforming from one image into another
The final detail or image in a particular scene. It may sum up what has happened, add a touch of irony, or
point towards the following scene. Compare 'INPOINT'.
A character speaks while the camera looks elsewhere. Not the same as voice over. Also known as 'out of
shot' [O.S.]
A camera position often used in dialogue scenes.
The movement of the camera when it swivels from left to right or right to left
Two scenes that the editor has alternated. Also known as 'cross-cutting'.
[POV shot] A shot in which the camera is associated with the eyes of a character ('this is what s/he sees').
To shift focus from one part of a scene to another (also known as 'follow focus' or 'rack focus')
A shot that shows a person's reaction to what happened in the previous shot. (It is known as a 'noddy' if the
person is merely nodding, like a television interviewer!)
A shot from the opposite side. When two people talk, there is often a 'shot and reverse shot' alternation.
The first edited version of the film, like a rough copy. It is revised to become the final cut.
A film or television script.
The position of the camera and lighting, selected for a particular shot.
Objects in foreground will be sharp; those in background will be blurred or softened. Opposite = deep focus.
The 'shoot' is the period of time spent filming.
A film is made up of many different shots. During the shooting of a film, a shot ends when the camera is
turned off. Each shot involves a different camera set-up. During and after the editing of the film a shot ends
where the editor has cut it off. See 'TAKE'.
light coming from one side – can create sense of volume, bring out surface tensions, fill in unlit areas.
A lightweight camera is suspended via wires and pulleys and controlled from a computer.
Opposite of sharp focus, sometimes produced by filters or Vaseline to add a romantic effect.
The combination of different elements (dialogue, music, sound effects) to make up the sound track
Sounds other than words.
Creating illusions by the use of trick photography, miniature models and various types of equipment. A bomb
can explode; a flying saucer can appear etc, thanks to SFX.
The camera is attached to a vest on the camera operator who can then move it without jerkiness.
A single photograph, the enlargement of one frame.
A script presented as a serious of drawings and captions.
A person's private thoughts and feelings which may be different from those expressed publicly.
Matching up sounds with visuals. When words match the movements of the actor's lips, the film is 'in sync'.
A point of view shot, sometimes distorted to emphasise the character's state of mind.
One attempt at a shot. To get the effect wanted, the director may ask for more than one version (or 'take').
Same as 'shot' but it refers more narrowly to the period when the film is being made.
A long lens with a telescopic effect.
A term used to refer to: (1) the actual physical look of a film image, those qualities that allow us to distinguish
it from a video, image or an oil painting, or other kind of image. (2) richness of detail – clouds, faces, wind
tugging at clothes, cars passing in the background, etc. To respond to texture is to notice not just the main
meaning or the main objects in a film scene, but also to notice details, colours and surfaces.
A closer shot, leaving less space around the people or objects on which the camera is concentrating.
The stationery camera starts at the top of an object/figure and scans down to the bottom [tilt down) or at the
bottom and scans to the top [tilt up]. Only the lens moves; when the whole camera is lifted = crane shot.
the camera moves on a 'dolly', enabling it to follow people who are moving along.
A shot in which two people are shown (cameramen also speak of 'one-shot' and 'three-shot').
Television filming. The images are recorded not on film stock, but on videotape.
The images of a film.
Commentary by an unseen narrator.
A lens with a broad angle of view, increasing the sense of depth and distance.
An optical effect in which one image appears to push the previous image off the screen.
A lens that can be adjusted from 'wide-angle' to 'telephoto'. Such a lens can 'zoom in' or 'zoom out' (seem to
move closer or further away from an object).
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