'The Number 23' Trailer Deconstruction

Point 1

Camera: 
The scene begins with a full shot of Agatha as she stands in a store holding a present. The camera gradually zooms in on her and she looks straight at the camera which gives the impression that she has seen something which is behind the camera, at that point. There is then a long shot of the book 'the number 23' and the camera, again, gradually zooms in on it. This puts emphasis on its significance in the plot. 

Editing: 
Eye-line match is used between Agatha and the book 'the number 23', which adds a sense of importance surrounding it. We also see eye-line match again of Walter observing the book, following on with a close-up of the book in his hands, again letting the audience know that it is of major importance. As well as zooming in on the book, the long shot of it is spontaneously cut with a close-up when the audience first sees it. 

Sound: 
We can hear the sound of a tinkling, high pitched soundtrack which adds to the tension of the scene. There is also diegetic dialogue of Walter reading out the blurb of the book including the words "the most horrifying memoirs ever told", which backs up the idea that the book is gory and about death.

Mise en Scene:
The book is shown in red which not only makes it stand out among the rest of the library, but also connotes that it is the book which leads to death, and that it is potentially about death, and danger. The red acts as a warning sign to the audience that it will cause trouble. The shots of the book gain increasingly tighter framing, which gives the impression that as Walter becomes in contact with the book, he is more and more trapped by the 'number 23' paranoia. 

Point 2

Camera: 
Leading up to the title of the film, the tension builds and the audience learns that Walter becomes a threatening character, mostly shown through the shots. In one shot, we can see him threatening his wife, Agatha with a knife. In the shot, he is close to the camera, and has his back to the audience. This not only makes him appear big, but also means that the audience can't connect with him fully and therefore he seems scary. 

In another shot, we see a close up of Walter but he is walking at a fast pace towards the camera, and this makes him seem like he is going to attack. 

Finally, there is a shot of Walter as he hides. We can only see one slit of him due to the lighting and the camera moves sideways so that the light reveals more of his face. In this shot we see him straight on and his eyes are clear to the viewer, making him a more vulnerable character in this shot. He also appears to be watching someone/ something else which shows that there be another added threat in the film which hasn't been shown. This creates an enigma as the audience wonders why Walter has changed personalities so many times. 

Editing: 
A montage is used with clips becoming increasingly shorter and more snappy. This builds the dramatic tension and shows the audience that the film climaxes into some terrifying events. The use of montage is also effective as it doesn't give away too much of the plot.

Sound: 
The sound of drums being played increasingly fast and loud builds tension as it goes on. The beat of the soundtrack also matches the cuts of each shots, which makes each shot more dramatic and adds significance to each one. The diegetic dialogue of "Don't do this to us" also backs up the idea that Walter has turned somewhat evil/dangerous.

Mise en Scene: 
In the first shot, lighting is effectively used to convey the difference between the two characters of Walter and his wife. The shot consists of low-key lighting yet Walter is shown in complete shadow and his wife is contrasting and viewed in the light, connoting that she is a good character and Walter is an antagonist at that moment. 

In the second shot shown, the colour red is used to connote how Walter is dangerous due to his paranoia and obsession. It also gives the impression that he has been led to commit dangerous actions. Lighting is used again effectively as the shadows on his face make him appear grim and threatening. 

In the last shot, extremely tight framing is used to convey how Walter is trapped in his position, which is effective as he looks like is he hiding in fear of someone and this highlights his situation. The red blood on his face is emphasised against the blackness of the rest of the shot and connotes that Walter may have recently committed an act of violence. 

Point 3

Camera:
After the title is shown there is a medium two shot of Walter/ Fingerling and Fabrizia in the reflection of the mirror. As you can see them in the mirror and also not in the mirror, in the foreground, it gives the impression that there are two different sides to the characters.They have been featured on both sides of the shot rather than in the middle, which adds tension to the shot as it doesn't seem right.

In the second shot, there is another two shot, but this time close-up and showing Walter and Agatha at a profile angle in bed. The profile angle emphasises that they are watching each other, showing the audience their relationship clearly. 

Editing: 
Juxtaposition is used between the initial shots of Fingerling and Fabrizia and Walter and Agatha as in these shots, all aspects have been contrasted; the angle of the actors, the proximity of the actors and the lighting of the shots. This adds to the idea that there is two very different personalities within Walter, or that he changes dramatically throughout the course of the film. Black transition screens have also been used in between all the shots and this breaks it up and makes it more fast paced and tense. 

Sound: 
A bassy, low beat is used in the first shot, to give a climatic edge to the scene. We can also hear the diegetic dialogue of Fingerling whispering to Fabrizia "I dreamt that I killed you" and this gives a sinister feel to the shot. Then, as Fingerling pulls at the knife, a sharp high-pitched noise is heard and this gives the moment impact. However, in the following shot, this is juxtaposed through the use of silence, which emphasises the intimacy between Walter and Agatha as she whispers "You wouldn't hurt anyone."
 Mise En Scene:
In the first shot, dramatic lighting is used to add tension to the shots. As well as this, the dominant colour turns from black with the white lights acting as a contrasting foil, to very quickly, red as the lighting changes at the same moment as Walter pulling out the knife. This instantly connotes danger and death as well as giving the moment significance.
In the second shot, however, the two actors are at an intimate proximity which show they are close , as well as the camera being at a close proximity to the actors, which allows the audience to feel as though they can trust them. The lighting is low-key, however this gives a mellow, relaxed feel to the shot.

Point 4

Typography: 
The words "The number" are a plain, bold font which gives impact but doesn't attract much attention, whereas the number "23" is an eroded, decaying font which gives a sinister, dangerous edge to it. It is also red and glowing which connoted that it is dangerous, however also reminds the viewer of hell due to how it glows and looks as if it is burning. 

Editing and Sound: 
There are distorted, electrical sounds as the title is shown, and jump cuts of the number '23' jumping around the shot in different places, giving it impact and making it appear like a bug or insect.