The document provides a detailed analysis of a scene from a television show set in New York City. It summarizes the mise-en-scene elements including the setting of an apartment in a NYC high-rise, the costumes implying the differing statuses of the main characters, and props like a joint and beer bottle. It also analyzes the lighting, actors' performances, camera movements including shots between the characters, and editing techniques used like shot reverse shot. The analysis concludes the scene effectively uses these elements to tell a comedic and heartfelt narrative through the cinematography and editing.

2. SHALL WE TAKE A LOOK???
• HTTPS://YOUTU.BE/IQKD-R5B8Z4

3. SETTING/LOCATION
• SET IN NEW YORK CITY-OBVIOUSLY. IS EXPRESSED THROUGH THE USE OF THE CITY LIGHTS, THE FACT THE
BUILDINGS ARE ON A COAST AND THE MOTORWAY BRIDGE.
• A SHOT OF A BLOCK OF FLATS IMPLIES THAT THE SCENE WILL TAKE PLACE INSIDE THE TOWER BLOCK.
• THE SHOT OF THE DOOR AND THE HAND KNOCKING, FURTHER SUGGESTS THAT THE SCENE WILL TAKE
PLACE INSIDE THE APARTMENT.

4. COSTUME AND PROPS
• HARVEY (THE ONE KNOCKING AT THE DOOR) WEARS AN EXPENSIVE LOOKING SUIT WHICH LEADS US AS
VIEWERS TO COME TO THE ASSUMPTION THAT HE IS SOME SORT OF A BOSS WHICH WITH EXISTENTIAL
KNOWLEDGE, I KNOW HE IS. WHEREAS MIKE WEARS A GREY HOODIE, BLACK TOP AND JEANS IMPLYING HE IS
LESS OF A ‘BIG DOG’ WITHIN THE SHOW AND IS OF A LESSER STATUS.
• PROPS SUCH AS A SPLIFF AND LIGHTER ARE KEY TO THE SCENE AS THEY ARE THE DRIVING FORCE BEHIND THE
COMEDY WITHIN THE SCENE. THE PRETZEL BAG IS A SYMBOLISM OF THE CONSEQUENCES OF THE WEED, AS IT
COMMUNICATES THE FACT THEY HAVE THE MUNCHIES.
• A BEER BOTTLE IMPLIES THAT THE BOYS ARE HAVING A GUYS NIGHT AND ARE IN FULL SWING OF THE EVENING.

5. LIGHTING AND COLOUR
• THERE IS A USE OF DARKNESS OUTSIDE IN THE FIRST SHOT TO IMPLY THE FACT IT IS THE EVENING.
• THE SCENE IS DARK, BUT LIT BY A LAMP THAT IS INSIDE MIKES APARTMENT.
• THERE IS USE OF MANY DIFFERENT COLOURED LIGHTS THROUGHOUT THE FIRST SHOT TO IMPLY THE FACT
THAT IT IS SET IN NYC.

6. ACTORS PERFORMANCE AND FACIAL
EXPRESSIONS.
• MIKE=BEGINS WITH A NONCHALANT FACIAL EXPRESSION, WHICH IMPLIES HE IS RATHER FED UP AND
GIVES HIM A CARELESS DEMEANOR BUT IT TURNS INTO A RELAXED, CALM AND COLLECTED DEMEANOR
WHEN HE REALIZES HE IS ALLOWED TO HAVE A GOOD TIME WITH HIS BOSS ( IN CONTEXT WE KNOW THAT
HE REALLY ADMIRES HIM)
• HARVEY= HE BEGINS OFF IN A SYMPATHETIC MANNER TRYING TO PORTRAY A CARING CHARACTER BUT
ENDS UP IN A WILD VIBE.

7. CAMERA MOVEMENTS
• THE SCENE BEGINS WITH TWO ESTABLISHING SHOTS. THE FIRST WAS A LONG SHOT OF THE ISLAND OF NYC, THE SECOND WAS A BIRDSEYE VIEW SHOT
OF A HIGHWAY IN NYC. THEN A TILTED LONG SHOT WAS USED FROM A LOW ANGLE TO COMPREHEND THE SCALE OF THE BUILDING IN THE SHOT.
• THERE WAS A LOT OF USE OF OVER THE SHOULDER SHOTS BETWEEN HARVEY AND MIKE THROUGHOUT THERE CONVERSATION. – X3 BUT 4TH ONE ENDED
IN A LONG SHOT.
• THEN THERE IS A MID SHOT OF MIKE HOLDING THE DOOR OPEN, THEN A MID SHOT OF THE TWO OF THEM, AND THEN A MID SHOT OF HARVEY PUTTING
THE SPLIFF IN ITS MOUTH.
• THE IT GOES TO A CLOSE OF MIKES ARM IN THE AIR WITH A PRETZEL BAG ON HIS HAND.
• THEN IT GOES TO A CLOSE UP OF HIS FACE LYING ON THE SOFA FROM A HIGH ANGLE.
• THEN IT GOES TO A LONG SHOT OF THEN CHATTING TO EACH OTHER
• IT ENDS WITH A CLOSE UP OF MIKE.

8. EDITING
• VERISIMILITUDE IS USED THROUGHOUT THE ENTIRETY OF THIS SCENE AND THE SHOW AS A WHOLE.
• MANY STRAIGHT CUTS WERE USED TO ENHANCE THE REALITY.
• EYE LINE MATCH WAS USED A LOT AND SUPPORTED BY SHOT REVERSE SHOT IN THE CONVERSATION
BETWEEN MIKE AND HARVEY'S CONVERSATIONS, TO KEEP EYE LINE MATCHES TO MAKE SURE THE
VERISIMILITUDE IS KEPT UNDER WRAPS.
• A USE OF LONG SHOT DURATION ALLOWED THE SCENE TO KEEP A NATURAL FLOW AND CONTROLLED THE
INTIMACY OF THE CHARACTERS RELATIONSHIP TO BE FOLLOWED.

9. COMING TOGETHER
• OVERALL, EACH ASPECT BROUGHT TOGETHER A SCENE THAT WAS COMEDIC, HEARTFELT AND HONEST
WHICH WAS ABLE TO TELL A CLEAR NARRATIVE THROUGH: MISE EN SCENE, CAMERA AND EDITING.
• THE USE OF EACH ELEMENT WAS TO ALLOW THE SCENE TO FORM WELL AROUND THE STORY THAT’S
TRYING TO BE TOLD.

10. AND THAT’S ALL!!