Shot-for-shot analysis part 1 and Statement of Intent

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 1

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 1A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin protests abortions

1c) What does the audience come to understand because of this shot?

Su-chin is protesting abortions outside the abortion clinic.

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Centered, still

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Color contrast between Su-chin’s outfit and BG, Flat tone

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

I think a significant part of Juno is its natural, no-frills tone. This shot feels pretty observational and doesn’t try to manipulate the scene very much, while still characterizing Su-chin and giving exposition for the scene. It’s funny and a little bit sad. This is Su-chin’s introduction. Music started very gently between the transition from the scene before to this scene.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 2

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno approaches Su-chin

1c) What does the audience come to understand because of this shot?

Juno will have to confront Su-chin to go into the clinic

2a) Shot size (CU, W, etc.):

Wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Balanced over the shoulder shot

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Movement through space, Deep space, contrast between Su-chin and Juno’s outfits

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Continuing the basic, no-frills element, deep space to at drama to Juno’s approach. The purpose in this scene is to continue establishing what’s about to happen. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 3

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 3A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin sees Juno approaching and feels awkward

1c) What does the audience come to understand because of this shot?

This is going to be an awkward confrontation between two people who feel differently.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder, slight tracking on Juno

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scenes 1 and 2

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shot shows Su-chin’s reaction to seeing Juno, a reverse-shot of shot 2. Sound continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 4

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno finishes approaching Su-chin

1c) What does the audience come to understand because of this shot?

Juno tries to deal with the awkwardness in a cavalier way

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Centered, still

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 2

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shows Juno beginning to emotionally deal with the confrontation. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 5

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 3B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin does averts her eyes from Juno, but acknowledges her

1c) What does the audience come to understand because of this shot?

Su-chin doesn’t handle the awkwardness as well as Juno.

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Centered, still

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 3

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Developing relationship between Su-chin and Juno. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 6

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno speaks with Su-chin about school

1c) What does the audience come to understand because of this shot?

Juno tries to diffuse the situation by talking about something other than what she is about to do.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Centered, still

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 2

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Same as 4. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 7

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 3B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin plays along, still averting her eyes.

1c) What does the audience come to understand because of this shot?

Su-chin does not want to confront Juno.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 5

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The increased distance between Su-chin and Juno seems to make things feel more awkward and distant. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 8

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 4B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno continues the conversation, turning to offering Su-chin Adderall

1c) What does the audience come to understand because of this shot?

Juno continues to try to diffuse the situation

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 4

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Juno’s natural quirkiness develops throughout the situation. The tightness shows that the conversation is getting more interesting. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 9

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 5A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin says she’s off meds.

1c) What does the audience come to understand because of this shot?

Su-chin is honest and is willing to disagree with Juno, but still is not confronting her about the abortion.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 7, flatter space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The tightness shows that the conversation is progressing. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 10

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno diatribes about a girl going crazy at the mall.

1c) What does the audience come to understand because of this shot?

Juno is really going off the wall with this conversation, in Su-chin’s eyes.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 2

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Juno is given more space visually so that her big over-the-top actions are clear and in-frame. Music continues.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 11

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 5B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin says she thinks the story Juno just told was about Juno

1c) What does the audience come to understand because of this shot?

Su-chin feels very awkward telling Juno this, but she does so anyway.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

85mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 9

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The tightness shows that Su-chin may be feeling trapped.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 12

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 2D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno decides to end the conversation and walk to the clinic. Su-chin finally tries to convince Juno she shouldn’t get an aborition.

1c) What does the audience come to understand because of this shot?

Juno moves on now that she has been accused. She is done with Su-chin and doesn’t care to listen to her. Finally Juno turns around.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Over-the-shoulder, tracking Juno as she walks to the clinic.

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 2, deeper space through movement.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The moving camera reflects Juno’s feelings of escape and trying to distance herself from Su-chin. The music stops at the end of this shot.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 13

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 6A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno turns to ask Su-chin “Fingernails?”

1c) What does the audience come to understand because of this shot?

Juno seems to be affected by this information, but she may just be playing along.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Juno stands in front of the building, and next to it.

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, color affinity between Juno and the building.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Cutting to this shot shows that Juno seems to have been affected by what Su-chin said.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 14

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 7A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin nods.

1c) What does the audience come to understand because of this shot?

Su-chin hopes she has gotten through to Juno, but doesn’t seem to think it’s very likely that she has.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Centered on Su-chin with parking lot in background.

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Contrast between Su-chin’s clothes and background, deep space that has been somewhat flattened due to shallow depth of field.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The closeup reflects Su-chin’s hope. It also allows us to see her earnestly concerned expression.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 15

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 8A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno seems to consider what Su-chin said for a moment, then goes to the clinic.

1c) What does the audience come to understand because of this shot?

Juno has not been moved enough to have changed her mind about the abortion.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadi-cam

2e) Composition, framing, camera movement, etc.:

Juno is almost centered in front of the building.

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as scene 13

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The closeup makes us think Juno has been moved, so it’s humorous as she decides to turn around contrary to our expectations.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 16

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

She plays a DS.

1c) What does the audience come to understand because of this shot?

Characterization of the receptionist.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of clear rows of filing cabinets.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat colors that contrast with the receptionist’s punk image, somewhat deep space that is flattened due to shallow dof.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This is the first we see of the inside of the clinic. It characterizes the awkwardness of the place by focusing on this weird character rather than the whole place. It is humorous.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 17

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 10A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno and the receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno enters and approaches the desk.

1c) What does the audience come to understand because of this shot?

Juno is about to ask for an abortion.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadicam

2e) Composition, framing, camera movement, etc.:

Camera moves right, moving from a shot of the receptionist to a two-shot of her and Juno with the desk between them.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat colors that contrast with the receptionist’s punk image but match Juno’s, flat space, dividing vertical line to distance Juno from the receptionist

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Sets up the awkwardness of what Juno is about to do.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 18

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 11A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

She welcomes Juno while not looking up

1c) What does the audience come to understand because of this shot?

Characterization of receptionist, exposition of location.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Shallow colors, somewhat deep space that’s flattened at the back

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This is a POV shot for Juno, so this gives a good example of her perspective and how she’s feeling.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 19

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 12A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno introduces herself and says what she’s there for.

1c) What does the audience come to understand because of this shot?

Juno moves forward with her decision.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Over the shoulder, Juno framed between desk and ceiling

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Shallow colors, limited space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The flatness of everything and frame-within-a-frame composition capture a lot of Juno’s feelings.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 20

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno finishes introducing herself

1c) What does the audience come to understand because of this shot?

Juno’s attempt at cavalier emotions.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Shallow colors, flat space, vertical and horizontal lines

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shot emphasizes Juno’s emotions rather than the actions.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 21

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

The receptionist gets her first look at Juno

1c) What does the audience come to understand because of this shot?

Characterization of receptionist, exposition of location.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets.Kind of over the shoulder.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Shallow colors, somewhat deep. Contrasts with receptionist.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We see this shot to begin getting into the nitty-gritty of the conversation. The closeness helps this.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 22

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno is peeved because she thinks the receptionist thinks she’s using a fake name.

1c) What does the audience come to understand because of this shot?

Juno is used to getting this kind of response to her name, and even in this situation she has the capacity to be annoyed.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 20

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Her expression is crucial here for comedy and characterization. Without the close shot, this wouldn’t be so clear. There is voice over here.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 23

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

The receptionist puts Juno’s name in.

1c) What does the audience come to understand because of this shot?

The story is progressing toward an abortion.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets.Kind of over the shoulder.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 16.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shot allows us to stay in the conversation while also seeing the receptionist’s actions.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 24

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno gives info the receptionist needs.

1c) What does the audience come to understand because of this shot?

Continued progression toward abortion.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 20

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We are staying the same in this conversation. It progresses toward what we expect.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 25

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 14A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

The receptionist offers Juno a condom

1c) What does the audience come to understand because of this shot?

Things are moving beyond what Juno wanted.

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 23, but on a slightly wider lens and moved in.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We need to be able to see the desk this time to see the condom slide across it.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 26

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 15A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno introduces herself and says what she’s there for.

1c) What does the audience come to understand because of this shot?

Juno moves forward with her decision.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Over the shoulder, Juno framed tightly between desk and ceiling

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Shallow colors, limited space

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We need to see the desk so we can see Juno slide the condom back.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 27

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

The receptionist awkwardly tells Juno she uses the condoms.

1c) What does the audience come to understand because of this shot?

The conversation gets awkward.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets. Kind of over the shoulder.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 16.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

This shot allows us to stay in the conversation and focus on the receptionist’s words and expression.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 28

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13D

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno doesn’t know how to respond.

1c) What does the audience come to understand because of this shot?

Juno feels awkward and wants to get out of the conversation.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 20

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We are tight so that we can focus on Juno’s feeling awkward.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 29

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

The receptionist tells Juno that the condoms smell like pie.

1c) What does the audience come to understand because of this shot?

The conversation gets even more awkward. It’s funny.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets. Kind of over the shoulder.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 16.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The receptionist’s apparent change of attitude is funny and awkward. Staying close helps this comedic push.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 30

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 13E

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno is about to leave, and leaves.

1c) What does the audience come to understand because of this shot?

Juno feels awkward and decides to move forward to deal with paperwork instead of keep the conversation going.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Barely over the shoulder, Juno framed neatly by rule of thirds.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as shot 20

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

We are tight so that we can focus on Juno’s feeling awkward. As she moves to walk out of frame, she doesn’t have to walk far to feel like she’s gone.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 31

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 9F

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

The receptionist and Juno.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno crosses in front of the receptionist and walks into the main part of the waiting room.

1c) What does the audience come to understand because of this shot?

Juno’s leaving the conversation.

2a) Shot size (CU, W, etc.):

Medium-CU

2b) Angle (High, Low, etc.):

Slightly high

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Tripod

2e) Composition, framing, camera movement, etc.:

Receptionist is slightly off center in front of deep rows of filing cabinets. Kind of over the shoulder.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Same as 16.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

The closeness makes it feel like Juno has gone very far very quickly. She’s out of there.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 32

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 16A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno enters the waiting area and sits down to begin her paperwork.

1c) What does the audience come to understand because of this shot?

Juno is about to get ready for her abortion.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Dolly

2e) Composition, framing, camera movement, etc.:

Juno enters the area and sits down. The camera dollies in toward her.,

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between Juno’s wardrobe and the waiting area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension is about to rise. We don’t know it yet, but the movement puts us on our toes. At the end, sound begins that will bug Juno throughout the scene.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 33

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 17A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno, Mom, Daughter

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno turns to see the noise that is distracting her. It’s the mom tapping her fingernails on a clipboard.

1c) What does the audience come to understand because of this shot?

Juno is being affected by Su-chin’s fingernails comment.

2a) Shot size (CU, W, etc.):

XCU -> CU

2b) Angle (High, Low, etc.):

Eye level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld.

2e) Composition, framing, camera movement, etc.:

Juno’s face takes up half the frame, and is then replaced by Mom and Daughter. Rack focus, very slight push in.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between all characters and location.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises, humorously, as we realize it’s about fingernails.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 34

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 18A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno turns to be distracted by another noise.

1c) What does the audience come to understand because of this shot?

Juno is becoming surprisingly tense about the fingernails.

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

24mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Tighter on Juno than shot 32

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between Juno’s wardrobe and the waiting area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tighter shot shows tension is rising.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 35

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 19A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Woman scratching nails.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Woman scratches her nails.

1c) What does the audience come to understand because of this shot?

This is the next thing Juno looks at.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

The shot is nicely centered on woman’s hands.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between woman’s wardrobe and area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as the sound and sources of sound increase. The tightness show that the person doesn’t matter. Just what she is doing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 36

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 18B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno continues to look around.

1c) What does the audience come to understand because of this shot?

Juno is becoming more and more tense

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Juno is slightly off center on the couch. Very slight push in.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between woman’s wardrobe and area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we cut back and forth quickly between Juno and what she is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 37

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 20A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Woman painting nails

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Woman paints her nails.

1c) What does the audience come to understand because of this shot?

This is the next thing Juno looks at.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

The shot is nicely slightly off center on woman’s hands.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between woman’s wardrobe and area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as the sound and sources of sound increase. The tightness show that the person doesn’t matter. Just what she is doing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 38

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 21A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno continues to look around.

1c) What does the audience come to understand because of this shot?

Juno is becoming more and more tense

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld.

2e) Composition, framing, camera movement, etc.:

Juno is slightly off center on the couch. Slight push in.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between woman’s wardrobe and area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we cut back and forth quickly between Juno and what she is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 39

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 21A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Man scratching arm

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Man scratches arm.

1c) What does the audience come to understand because of this shot?

Juno sees something else that makes her feel guilty.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Man is centered. Still.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, too tight to get much visual information.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we start to see and hear more that Juno is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 40

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 22A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Woman scratching nose

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Woman scratches nose.

1c) What does the audience come to understand because of this shot?

Juno sees something else that makes her feel guilty.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Woman is slightly off center. Still.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, color affinity.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we start to see and hear more that Juno is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 41

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 23A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Woman filing nails.

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Woman files nails.

1c) What does the audience come to understand because of this shot?

Juno sees something else that makes her feel guilty.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Woman is slightly off center. Still.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, color affinity.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we start to see and hear more that Juno is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 42

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 24A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Woman tapping table

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Woman taps table

1c) What does the audience come to understand because of this shot?

Juno sees something else that makes her feel guilty.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

High

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Hand is centered. Still.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, too tight to get much visual information.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we continue to see and hear more that Juno is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 43

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 25A

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Man scratching face

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Man scratches face

1c) What does the audience come to understand because of this shot?

Juno sees something else that makes her feel guilty.

2a) Shot size (CU, W, etc.):

CU

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Handheld

2e) Composition, framing, camera movement, etc.:

Man’s neck is centered

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, too tight to get much visual information.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension rises as we continue to see and hear more that Juno is seeing.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 44

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 18C

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Juno

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Juno realizes that she’s been convinced she doesn’t want an abortion.

1c) What does the audience come to understand because of this shot?

Juno is so tense that she’s changing her mind. She’s a little annoyed by this.

2a) Shot size (CU, W, etc.):

Medium-wide

2b) Angle (High, Low, etc.):

Slightly low

2c) Focal length (lens in mm; best guess):

35mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Dolly

2e) Composition, framing, camera movement, etc.:

Juno is on the rule of thirds. We move in very slightly.

3) Describe the use of lighting:

High-key and flat

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between Juno’s wardrobe and the waiting area.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension is at its peak, so the dolly in just gives it that last little push before it is released in the next cut.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.

SHOT # (the order it appears in the film - 1, 2, 3, etc.): 45

SET UP (order you will shoot it - 1A, 1B, etc. Not the same as Shot #): 1B

1a) Who/What is the subject of the shot? (If there are multiple subjects over the course of the shot, include each subject—these were purposeful decisions made for specific reasons.)

Su-chin

1b) What is the basic action of the shot? (What happens in the shot—e.g. Indy picks up the compass. If the shot is about a character thinking, try to articulate what the character is thinking or feeling.)

Su-chin is still protesting. Juno runs out of the clinic, Su-chin thanks her.

1c) What does the audience come to understand because of this shot?

Juno has decided to not get the abortion and needs to quickly get out of the space. It’s also humorous.

2a) Shot size (CU, W, etc.):

Medium

2b) Angle (High, Low, etc.):

Eye-level

2c) Focal length (lens in mm; best guess):

50mm

2d) Camera mount (steadi-cam, handheld, tripod, etc.):

Steadicam

2e) Composition, framing, camera movement, etc.:

Centered on Su-chin, Juno runs past in frame right. Camera moves slightly left around Su-chin.

3) Describe the use of lighting:

Natural

4) Describe the use of the visual elements — specifically, Space, Line, Shape, Tone, Color, Movement, Rhythm:

Flat space, affinity between Juno’s wardrobe and the location, contrast with Su-chin.

5) Why do you believe the director chose to create this image in this way? What is the image’s purpose in this scene, and in the larger story? What else do you notice (for example: performance, sound, editing, etc.)?

Tension is released as Juno has decided not to get the abortion. However, instead of focusing on her, we focus on Su-chin, to comically tie up what has just happened—Su-chin convinced Juno.

6) On the back of this page, add an overhead drawing of the camera setup, blocking and lighting.



STATEMENT OF INTENT

1.     What film or TV show is this from?

a.     In 3-5 sentences, what has happened in the story before this scene?

Juno has gotten pregnant after having sex with Pauly Bleeker. She has confirmed it by taking several pregnancy tests. She has informed her friend Leah, as well as Pauly, that she’s pregnant, but that she plans to get an abortion. She has contacted Women Now (the women’s clinic she goes to) and set up an appointment.

2.     What is the theme of this film?

For me, the theme of Juno is that no matter what a person’s values are, it is important to love and value them, even during trials and when things aren’t going one’s way.

3.     What is the story—the beginning, middle, and end—of your scene in three or four sentences? In other words, what happens as the scene starts, as it progresses, and as it ends?

Juno comes to the abortion clinic, but must confront Su-chin, her apparently religiously conservative classmate, before she is able to enter. When she enters, she feels awkward and out of place as she talks with the receptionist. Finally, as she realizes that Su-chin’s words and humanization of her fetus is sinking in, she runs out, choosing to not go through with the abortion.

4.     What, specifically, must the audience understand narratively in order to engage in this scene? How does the director communicate each piece of information?

The audience must understand that Juno originally plans to get an abortion, that Su-chin is trying to encourage her to not get the abortion, that at first Juno is not apparently affected by Su-chin, that Juno feels awkward at the clinic, and that Juno feels overwhelmed as she realizes that maybe Su-chin’s words have affected her.

5.     What is the narrative, emotional and thematic purpose of this scene in the larger story?

This scene is an essential first development in the second act. At first, Juno seems to have no qualms about hiding the pregnancy and getting an abortion while only informing a minimal number of people about it. However, in this scene, she decides she is personally uncomfortable with the idea of the abortion, so she moves forward and completes the pregnancy. Narratively, this scene launches the rest of the movie, from her meeting and dealing with Mark and Vanessa, to her having to deal with everyone knowing about the pregnancy. Thematically and emotionally, I think this scene humanizes Juno. It makes her feel connected to human love and value, which may not have been obvious up until this point in the film due to her alternativeness. This leads to her making the decisions she makes with Mark, Vanessa, and Pauly.

6.     What emotion do you think the director wanted the audience to experience in this scene? Why? How did the director achieve this? How do you intend to do this?  

I think this scene is primarily comedic. However, I think it is also intended to make the audience feel a bit of building tension and surprise (and possibly relief) as she makes the decision to not go through with it. I think these emotions come from a variety of reasons, such as the film being a comedy and because we are supposed to realize that Juno’s values are complex and that she may not be heartless just because she’s quirky. The director achieved this through pacing, lens length, performance, the script, a few camera moves, and sound design. I hope to achieve it in the same way—by balancing all these elements.

7.     What is the first image of the scene? What is the final image of the scene? Why do you think the director chose these specific images?

The first and final image are both of Su-chin protesting abortions outside of the clinic. I think these images were chosen because they are funny, but also set the tension that will direct this scene, both internal and external of Juno.

8.     Why is this scene personal to you? What previous personal experience(s) does it remind you of? Ask yourself, “Why do I need to make this scene?”

I like this scene because I understand the complexity of ethics surrounding the decision of abortion. I appreciate the comedy, as well, and I like the side of Juno that it reveals. It reminds me of ethical decisions I have made in the heat of some outside influence trying to convince me one way or the other. I understand that tension, and I understand the relief of finally being true to myself, even when that decision might contrast with the image I try to convey of myself.

9.     Which specific visual elements (line, shape, space, tone, color, rhythm, movement) do you notice the director is using to purposefully communicate the emotion of the scene? What other elements is the director using to evoke emotion? (Be specific! Don’t just say “art direction,” although that’s a start, say, “scattered clothing on the bed, open closet doors…” etc.)

He uses color. The scene is filled with rather dull colors, which contrast with a few key elements—specifically, Su-chin’s purple outfit. He also uses space. This scene uses deepish space for most of the scene, which is somewhat flattened out by depth of field. However, in the final moments, the space is very flat, as tension is rising for Juno. Additionally, he uses very familiar, awkward settings, including elements like scattered papers, waterlogged magazines, half empty parking lots, and a sterile-looking waiting room.

10.  What focal lengths does the director appear to be using? Why?

He uses a variety throughout each conversation, ranging from lengths that appear to be 24mm to 35mm to 50mm to 85mm. I think he uses this variety to draw our attention to different elements of the scene, which are sometimes just facial features, but sometimes bigger actions or objects.

11.  In a bulleted list, describe two or three potential obstacles the filmmakers faced in creating a successful scene. How do you think they overcame these?

·       Getting smooth handheld shots

o   I imagine they overcame this with technology, by using a complex shoulder rig or Steadicam

·       Getting very telling performances

o   I think a lot of this has to do with casting and the script, but I also think Jason Reitman knows a lot about getting very moving performances from actors, even in scenes of comedy.

12.  In a bulleted list, describe two or three potential obstacles you may face in creating a successful scene. How can you be prepared to overcome these? Be specific!

·       Getting a location for the waiting room

o   I can ask everyone I know for ideas they might have, and I can post online to see if anyone would be willing to let me use a good, similar space.

·       Matching focal lengths with the variety of shots within conversations

o   I can do quick camera tests with various lenses to compare to the actual shots from the film.