Moonrise Kingdom (2012)-Wes Anderson (first 2 minutes of clip)
Shot 1:
Wide shot, begin to track on dolly
This establishing shot begins the long dolly shot that brings us through the scene. Throughout the shot, the characters move to different places on the screen, but the camera stays in the same place, tracking along beside them. This is broken up several times with cutaways, but makes up the majority of the scene. The scoutmaster is making his morning rounds to each of his scouts in order to check on their activities. The forward movement and framing of the scoutmaster and his assistant scout, in addition to the music, create a militaristic feeling of order and power.
Shot 2:
Stop tracking, medium shot, then continue tracking
The camera has stopped tracking for a moment and the characters have moved forward in the frame tok a medium shot. While we've been seeing the same shot for several seconds, the frame within a frame and movement of characters in and out of the frame creates visual interest.
Shot 3:
Stop tracking, medium shot
We've continued tracking to reveal another character. The camera stops movement on this boy as the scoutmaster and other scout move out of the frame and we hold on this medium shot. While we've still been following the same take, we get a break from the two focal characters to see what this character is doing.
Shot 4:
Extreme close up
Our first cutaway to an extreme close up of what the boy is holding. The scout master has asked him "How's that lanyard coming?" to which he has replied, "Terrible." With this shot, we can see that the lanyard is indeed looking terrible.
Shot 5:
Cut back to tracking shot, wide
We've cut back to the tracking shot where the characters are now set wide in the frame. Eventually they land on another scout and movement stops as they stop to talk to him.
Shot 6:
Cut to extreme wide/long shot
The boy in the previous shot had mentioned a treehouse, but it had not been in frame. We cut to this extreme wide to emphasize the ridiculous placement of the treehouse and see its size relative to the size of the characters.
Shot 7:
Cut to high angle shot
We cut to a high angle shot, again to emphasize the extreme placement of the treehouse, which foreshadows a later event in the film.
Shot 8:
Cut back to wide, continue tracking
We've cut back to our wide to continue the tracking shot established at the beginning of the scene. The characters continue to move to the right of the frame and we follow them as they encounter more scouts, who seem to be lined up in an exact row, mimicking the demands of orderliness that we're hearing from the scoutmaster as he talks to each of the scouts.
Shot 9:
characters move back in frame to wider shot
We've cut back to our tracking shot, and the characters have moved backward in the frame to establish a wide shot. We now, however, have a fence in the background for relativity and visual interest.
Shot 10:
Tilt down to medium shot
Tracking stops momentarily. Without changing the placement of the camera, we tilt down to reveal another scout burning ants with his uniform out of order. We look down on him disapprovingly the same way the scoutmaster does.
Shot 11:
Tilt back up to wide
We then tilt back up to our wide to see a reaction shot from the scoutmaster and assistant scout.
Shot 12:
continue tracking, characters have moved closer in the frame for medium shot
The two characters have moved farther up in the frame to meet the scout closer to the camera. All three characters are now in a medium shot.
Shot 13:
Continue tracking, characters have moved back for gunslinger shot
We've continued tracking again and the characters have moved slightly back in the frame to position themselves in a gunslinger angle. Tracking has stopped again as the scoutmaster has stopped to reprimand another scout.
Shot 14:
Finish tracking, characters have moved back for medium wide two shot
The continuous tracking shot has ended with the placement of a table, where the scoutmaster finishes his rounds and sits for breakfast in a medium wide. He has introduced a new visual interest: a news magazine.
Shot 15:
Cut away to perspective shot
We've cut away to a close perspective shot of what the scoutmaster is reading. This gives us information as to what the time period is as well as what the "Hullabaloo" (previously mentioned in the scene) will consist of.
Shot 16:
Cut to closer perspective shot
We cut to a closer shot of the new magazine to get more information on a specific article, cluing us in to the tone of the scout camp.
Shot 17:
Cut to medium close up
We've cut back to a medium close up of the scoutmaster reading the magazine as other scouts move around in the shot, contrasting the personality of the rigid scoutmaster with the disheveled boys.
Shot 18:
Pull out to wide shot
The camera pulls out quickly to a wide shot reminiscent of The Last Supper. We see that most of the scouts have joined the scoutmaster at the table, but one chair is empty, bringing us into the next scene where we search for the missing scout.
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