SCENE ONE Type of Shot: Close-up This scene shows of the longing in the hearts of both Benjamin and

Daisy to be together. They had a mutual bond and feeling about one another but that relationship had not blossomed just yet due to Benjamins unusual circumstances. Daisy took the first step to intimacy by closing up on Benjamin to let him know how she feels. She entices him with her honeyed words and sweet dance but her coy failed to get Benjamin onto the same love boat. There is a fine divide between the two characters to show that even though they may be just inches away from each other, there will be a barrier that separates them at the very end of the day. Daisys red dress also highlights her passion for not only for dance but also for her childhood companion, Benjamin. They can lust for each other, but they both know that some things are just not meant to be. This close-up shot lends itself to show the intimacy shared between the two characters. It shows of Daisys willingness for Benjamin to be near to her. Camera Angle: Eye Level The eye level angle brings the audience closer to the characters and it complements the close-up shot. The audience observes the scene in close proximity of Benjamin and Daisy to share in closeness of their relationship. The directors did this scene as such to share in the experience of being appreciated. The eye level shot enables the audience to connect and understand both characters while at the same time, it allows for everyone to know how Daisy and Benjamin is feeling emotionally. The visual connect is enhanced by the facial expressions of the characters that allows for the audience to be standing right in front to share in the moment with them. Camera Movement: Tilt Down The tilt down highlights Daisys move to allure Benjamin into her presence. She was dancing on the veranda after which she slowly moved down towards Benjamin to get close to him. Because of the type of angle, Daisy is positioned above Benjamin as she reaches out to caress him. This goes to show that Benjamin is inferior and perhaps weaker in relation to Daisy. Benjamin is indeed older than Daisy in physical form and appearance and as such, he rejects Daisys initiative to be together. It also shows that it is not ideal after all for both parties to be together because they are on different levels. They dont see eye to eye and the relationship would create quite a stir as a result of their differences. The shot ends with the narration: Our lives are defined by opportunities, even the ones we miss. Lighting: BacklightingMoonlight and street lamp Light shines from the back of Benjamins head and sends a glimmer onto Daisys face. The lighting contrast on both characters highlights the disparity between the old Benjamin Button and the young Daisy. The reflecting light on Daisys face represents a young and willful lady who does not know what she wants out of life. Daisy contrasts with Benjamin who is a lot wiser and mature because of his long standing old age condition. Even though both characters are around the same age, Benjamin understands the situation and his plight more than Daisy does. There is an eminent objection to them being together as brought forth by the dark and light contrast. The lighting for this scene shows that situations will not work for those who are under two opposing light sources. Sound: Non-diegetic, Diegetic The non diegetic sound of the scenethe soft playing instrument music and a clapping sound in the background shows of the fast beating life of Daisy compared with Benjamins which is so lifeless and slow paced. The music in the background is seemingly more playful and faster as Daisy approaches Benjamin with every intention to bring him to the bait. Benjamin refuses because he is more understanding and the music dies down to a serious conversation. The conversation is diegetic as it is the voice of the characters from that scene. The non diegetic sound was present so as to set the mood and to bring on the surprise when Benjamin said No to Daisy.

SCENE THREE Type of Shot: Medium Shot This scene portrays the main characters Benjamin and Queenie from the waist up as they engage in a casual conversation. A medium shot shows some detail of action. It frames a character, and makes some part of the object in more detail so that the audience feels as if they were looking at the whole subject. A mid shot is used in this scene as Queenie is speaking without too much emotion or intense concentration. The intent of this shot is to deliver information and Queenie does so by telling Benjamin Button that one of the ladies at the house, Ms. La Tourneau had just passed away. Camera Angle: High angle The high angle shot on Queenie which is relative to Benjamin makes Queenie seem smaller and less significant. This has become so as over the years, her old age has rendered her daughter and sometimes Benjamin to be in charge of the place. This shot shows that no matter what may happen, your parents will always be there to watch after you. Queenie embodied unconditional love and motherly embrace for Benjamin even though he was her adopted son. And because of that, no matter how old she was, she was still beautiful even at the age of 71 because of her heart. Benjamin is the person of authority in this shot and this scene shows the reversal in roles for Benjamin to take care of Queenie and all the other old folks at the home since he is so much younger. Camera Movement: Tilt Down The downward tilt on Queenie makes her insignificant as she appears to be so much smaller. By tilting down, the audience is taken in to observe the action from afar. Queenie approaches Benjamin to inform him of the death of someone in the family. This camera movement does not favor Queenie as it shows that she is old and well in years and would be the next to go. It makes her weak and empowerless as compared to Benjamin who is now the commanding one instead of being the sickly old person. Queenie shares in one of the last moments with Benjamin before he leaves the house again and never to return until her funeral. Lighting: Hard Lighting Hard lighting is used in this shot as part of the light source comes from the surrounding sun. The illumination is scattered and the clouds and light-toned surfaces are used to create the hard light. When hard lighting is employed, the light creates a harsh appearance and shadows in the background as well as on the faces of the characters. This casting of the shadow in part on Quennie shows that she is getting older and death is lingering at her side. This type of lighting is suitable to show how fragile life is and that death is impending on everyone. Sound: Diegetic, Non-diegetic Diegetic sound involving the conversation Queenie has with Benjamin. While at the same time, the non diegetic soundthe soft instrument music adds to the mood of the scene. The music is peaceful and reinforces the idea that Ms. La Tourneau had passed peacefully. The mood of the scene was peaceful and there were no lamentations in the particular shot. Benjamin and Queenie knew that life and death was a way of life and had already accepted how things were. In this scene there is an acceptance that nothing lasts and life must end at some point in time. But when it happens, it will be peaceful, solemn, and respectful.

SCENE FIVE Type of Shot: Close-up This scene shows a close-up shot of Daisy as she exits gleefully from the dance studio only to be met with an unfortunate car accident. The scene shows very little background and it concentrations on the expression shown on Daisys face momentarily before she was knocked down by a careless taxi driver. The background is blurred to bring importance to the look on Daisys face. The close-up brings the audience into the mind of Daisy to see how she felt just before losing her ability to dance properly. Before Daisy was knocked down by the taxi, she seemed like she had everything under control. She had an awesome life that revolved around her dance career in Paris; but one moment would change her life forever. Life being what it is, a series of intersecting lives and incidents, out of anyones control that taxi did not go by and that driver was momentarily distracted, and that taxi hit Daisy. And her leg was crushed. Camera Angle: Low Angel, Eye-Level Low Angle, eye level shot increases the height of Daisy and gives a sense of speeded motion. Just within a few seconds between cuts and takes, Daisy was knocked down by the taxi. The low angle view helps give a sense of confusion to a viewer, of powerlessness within the action of a scene. The split second hit brings about shock and disbelief to the audience as they try to recollect what had just happen to the main character of the show. The background of a low angle shot is lacking in detail about the setting which adds to the disorientation and shock value of the audience. Camera Movement: Tilt Up, Cut The director focuses the camera from Daisys twirling feet and slowly tilts it up to show her full body and eventually, her face. Through a series of cuts, going from one shot to another, the director moves the camera with the action to show the spilt second where Daisy was disorientated and standing in the middle of the road before getting hit. By doing so, the audience can experience Daisys full range of movement, right up to her facial expression before she is hit and lying in the hospital almost motionless. The director shared in the freedom that Daisy had as a ballet dancer, that wonderful life she had before it was taken away from her through very cruel means. Lighting: Soft Light Soft light is used in this scene to accentuate the look on Daisys face. Because the lighting is softened, the illumination from the clouds is scattered. Also present with soft lighting are shadow areas which are diffused soft edges around Daisys face. By avoiding sharp shadows, Daisy stands out from her surrounding and is put into focus. The soft light brings about the gradual blending from highlights to shadows and makes the scene and Daisys face a lot brighter. Also, the background carries along the grayish-black ominous color to signify the impending danger that awaits Daisy. The light is on her before she gets knocked down and casted by the shadows. Sound: Non-diegetic, Diegetic The non-diegetic sound comes from the background music from instruments. The classical music sets the mood and tone for the following scene and to alert the audience that something bad is going to happen to Daisy. The nondiegetic sound raises pulse and heart rates and prepares the audience for what is to come. The diegetic portion of the scene comes from the narrative by Benjamin. His dialogue fills in parts and lets the audience know the series of events that led to Daisys accident. Without the music, the shock value of the audience would not have been preserved and the scene where Daisy was knocked down would not be as tragic as the directors want for it to be.

SCENE SEVEN Type of Shot: Close-up The camera moves from the foreground to up close to Benjamin as he walks towards the bed where Daisy was laying. This shot just like the first scene, shows of the complexity and complications of the relationship between Benjamin and Daisy. Benjamin visits Daisy in a hospital in Paris after one of her friends had wired him the news. This close-up shot also shares in the essence of friendships. Benjamin was there for Daisy when she was in a bad shaped and reduced to cast and bed rest. The director did a close-up view so that the audience could empathize with Daisy the situation she was in. By moving in on the characters, the audience can also sense how close Benjamin is to Daisy. Though there has been road bumps in the two characters relationship, it is important to note that Benjamin still cares for Daisy and there is something between them that will never tear them apart. The audience can easily share in the love that the two have for each other despite the circumstances. Camera Angle: Eye-level The cameras are positioned at eye level so as to maintain the neutral shot whereby, the audience can actually observe the interaction between Benjamin and Daisy in the scene. Benjamin and Daisys heads are on level with the focus so as to bring the audience closer to the scene. An eye-level scene also makes it seem as if the audience is just standing by the characters in the movie. In this manner, it is easier for everyone to relate to the unusual relationship shared between Benjamin and Daisy and to accept how the characters feel about one another in an instance because of the proximity from them. Camera Movement: Pan The shot starts off with Benjamin walking into the room and towards Daisys bed. The camera pans to show Benjamin at the corner of Daisys bed, staring at her injury and moves the full length of her body to show the injuries on Daisys face. The scene evokes pathos and makes the audience share in the pain that Daisy is feeling. Her heart not only aches for the longing of Benjamin but her physical injuries are also crying out in pain. The director did a pan to show the audience the plight of Daisy. He also introduces Benjamin back into Daisys life by walking him back into the scene. Benjamin thereafter shared in his commitment to take care of Daisy, bringing both of them closer to one another again. Lighting: Hard Lighting, Back Lighting Hard lighting is employed in this shot as we see the numerous shadows cast upon the faces of both Benjamin and Daisy. Most of the light comes from Daisys back by means of the sunlight from the window. The white hospital curtains reflect off that light naturally and even out the tone of the scene. The light shows hope in Daisys life just when Benjamin arrives. It is a positive symbol and represents the reconciliation that the two have with each other after the accident. The white light also shows the purity of their relationship as friends at this point which further develops in the following scenes. Sound: Non-diegetic, Diegetic The non-diegetic music of the band and orchestra lightens the tone of the meeting between Benjamin and Daisy. It eases up the audiences with the light beat of the music so much so that the audience would not know the outcome of this scene. The diegetic part comes from the conversation that Benjamin has was Daisy. He expresses his desire to stay and take care of her but she refuses because she does not want Benjamin to see her in the state she is in on the hospital bed.

SCENE EIGHT Type of Shot: Long Shot The camera shoots a long shot now to show Benjamin standing outside of the hospital, as he looks up through the window of Daisys hospital room. This shot focuses on Benjamin and shows him from head to toe. Plenty of background image is shown as well to reflect where he is in this scene. After being asked to leave from Daisys side, there is a longing in Benjamins heart to still go back and be beside the person he cares the most for. This scene shows Benjamin at a distance, helplessly and hopelessly lost from his eternal companion. The feeling that Benjamin has in his heart is that ofthe greater the love, the greater the loss. Camera Angle: High Angle The camera is set from above to capture Benjamin on the ground. He is much smaller and insignificant now in the scene and seems as if he has been swallowed up by the setting. At this point in time, Benjamin, after being asked to leave, feels insignificant about himself. He feels small as he could not be part of the bigger picture and the recuperation of Daisy. Benjamin is lost and is wondering how to get back up, back to Daisys side. This scene shows of the eternal friendship that the two characters have with one another. No matter what the circumstances may be, they will always be there to support and love one another. Benjamin is like Daisys guardian angel as he stands and lay watch for her. It goes to show that true friends will always have one anothers backs in times of crisis. Camera Movement: Crane Shot The director makes use of a crane to film this scene to show Benjamin as he stands from a distance. At this point, Benjamin is feels small and insignificant to Daisy. But the same cannot be said of her feelings because she clearly wants Benjamin to stay by her side until she recovers. Daisys cruelty and pride caused Benjamin to leave the hospital feeling dejected. After all, he had travelled all the way to Paris, only to be told by someone he loves that he is not welcomed. Benjamin sad and does not know how to handle the situation, so he walks away for the time being to leave Daisy along to think. Lighting: Sound:

Sometimes were on a collision course and we just dont know it, whether its by accident or by design, theres not a thing we can do about it. A woman in Paris was on her way to go shopping. But she had forgotten her coat, went back to get it. When she had gotten her coat, the phone had rung. So she stopped to answer it and talked for a couple of minutes. While the woman was on the phone, Daisy was rehearsing for a performance at the Paris Opera House. And while she was rehearsing, the woman, off the phone now had gone outside to get a taxi. Now, a taxi driver had dropped off a fare earlier, and had stopped to get a cup of coffee. And all the while, Daisy was rehearsing. And this cab driver, who dropped off an earlier fare, had stopped to get the cup of coffee, he picked up the lady who was going shopping and had missed getting an earlier cab. The taxi had to stop for a man crossing the street, who had left for work five minutes later than he normally did because he forgot to set his alarm clock. While that man, late for work was crossing the street, Daisy had finished rehearsing and was taking a shower. And while Daisy was showering, the taxi was waiting outside a boutique for the woman to pick up a package, which hadnt been wrapped yet. Because the girl who was supposed to wrap it had

broken up with her boyfriend the night before and forgot. When the package was wrapped, the woman who was back in the cab, was blocked by a delivery truck; All the while Daisy was getting dressed. The delivery truck pulled away and the taxi was able to move, while Daisy, the last to be dressed, waited for one of her friends who had broken her shoelace. While the taxi was stopped, waiting for that traffic light, Daisy and her friend came out the back of the theater. And if only one thing had happened differently, if that shoelace hadnt been broken, or that delivery truck had moved moments earlier, or that package had been wrapped and ready, because the girl hadnt broken up with her boyfriend; or that man had set aside his alarm and woke five minutes earlier; or that taxi driver hadnt stopped to get that cup of coffee; or that woman had remembered her coat and got into the earlier cab; Daisy and her friend would have crossed the street and the taxi would have driven by. But, life being what it is, a series of intersecting lives and incidents, out of anyones control that taxi did not go by and that driver was momentarily distracted. And that taxi hit Daisy. And her leg was crushed.