Under lying his jacket are religious iconography letting us know that he believes in faith and on god’s side, so to speak.
Baz Lurhmann brings in the Montagues first; it sets a lighter feeling towards the audience, there laid back style of clothing, such as beach shirts.
Clearly aimed at the younger side of the audience.
In this film, Baz Lurhmann makes it accessible to a modern day audience, he achieves this by using recognisable characters in today’s world, making it more exiting and easier to understand.
During Tybalt’s entrance a well known signature tune is played from ‘The good, the bad and the ugly’ a western classic showing that Baz Lurhmann cross references different genres to give the audience an insight to Tybalt’s character.
Serious but smug, Tybalt expresses himself with mysterious facial expressions. A powerful aura of confidence surrounds him; this look is influenced by the Montagues’ entrance. They begin by laughing and full of happiness; this is soon lost by a deathly focus upon the Capulets. The Montagues’ become very weary and nervous, signalled by their shaky eyes and shivering heads, which then, Tybalt’s composure and confidence over rules.
Looking at the first scene when Tybalt enters, Baz Lurhmann creates a tense surrounding using a focused grinding effect upon Tybalt’s cowboy boots pressing on his cigarette, demonstrating to the audience, that he means business.
Focusing on Tybalt’s gestures, a dramatic moment of this film is intensified whilst Tybalt falls to the floor and praises towards the sky. This symbolises that he is fighting for god, forth putting that religion comes first, this is intensely exciting and visually brilliant, it provides an intrinsic look into Tybalt’s culture.
Baz Lurhmann uses a formal swearing gesture of which, if you were to bite your thumb it would be a modern day equivalent to raising your fingers.
Clearly making it easier and accessible to a modern day audience.
Looking at the first scene, diagetic sounds are looped over moving objects, giving the film that extra feeling of a surreal situation.
Focusing upon the two main points of sound effect use, a swirling effect is looped over on Tybalt’s gun and a squeaking noise on the sign, this creates that intense imagery of a western. Baz Lurhmann is truly trying to focus the audience on relative genres, keeping it extremely exciting to the eye and the mind.
Helping the viewers to understand what is going on.
There is a sense of altered reality in this scene, almost in a dream world, yet again relating it to a younger side of the audience and creating accessibility.
Locating the scene at the petrol station, a classic meeting point for boy racers, the cool place to hang out, this is exactly what Baz Lurhmann brings across, he creates this meeting point for the two house holds, to exhibit there cars and show off there guns.
Lurhmann uses the petrol station due to the potential danger of an explosive nature, informing the audience that when Tybalt smokes, we then believe that he is not afraid of death and extremely confident.
Outstanding referencing, Baz Lurhmann in every perspective aims this scene to the modern day audience, the petrol station adds that brilliancy to it, showing us that Lurhmann looked into today’s hang outs from a teen point of view, using it and yet again, setting accessibility.
Looking at the props, cars guns the petrol station, signs and posters these are significant to a western, Baz Lurhmann uses the props to give that extra feeling for setting the scene, they interpret a western for which Baz Lurhmann purposely focuses upon.
The petrol station is a like a saloon where gangs hang out and show off there pride, and challenge each other to a duel, Lurhmann uses this significance to symbolise that spaghetti western scenery.
During the entrance from the cars, it refers to the old horse wagons arriving in style and only then to chat up the lady’s.
The guns represent the sword; this is clearly stated by the focused viewing upon the name, it reads ‘s.w.o.r.d’, telling us that Lurhmann uses the gun as if it were a sword.
Signs and posters are used for showing tension, ‘wanted’ posters are placed in western films to set that there is trouble surrounding, Baz Lurhmann uses this idea for same reasons.
Signs are used to add perspective to the audience’s eye and to create extreme tension.
During the first scene camera shots are used throughout, and without these techniques things wouldn’t be noticed.
Noticing the Montagues names there enforce by the camera pausing, creating a still image letting the audience focus upon the name and there gestures, getting a sense of there character.
The same is used upon the Capulets; this is a great idea as you can tell which household means more business.
Speeding up the camera builds up tension and gives it epic action to thrill your eyes.
Crash zooming is a brilliant technique, especially when it zooms in on Tybalt’s eyes and the Montagues kings men, you can tell instantly that Tybalt is fierce and confident, through his concentrated eyes against the panicky, weary eyes of the Montagues.
Exiting wide screen shots help access Tybalt’s choreography and capture the surrounding goings on, not only does it capture, it allows us to understand Tybalt’s character.
Fading in, Fading out and all the camera transitions add variety to the viewpoint, keeping it exciting and action packed to fulfil the audience.
Focusing upon the overall view, Baz Lurhmann productively exposes the accessibility in Tybalt, and in every way possible he creates excitable moments, using marvellous techniques within the camera and within the characters.
Cross-referencing and representation are just the few ideas that Lurhmann includes, enforcing that terrific sense of surrealism and brilliant action.
Relating the film to different genres, symbolising western classics, and refer ration to faith, Baz Lurhmann brings out the best of the scene.
Aiming the film to other age markets creates a massive amount of accessibility; the recognisable props and actions to a modern day audience encourage Tybalt’s character.
Baz Lurhmann marvellously, brilliantly and fantastically makes Tybalt’s character exiting and accessible to a modern day audience!