Camera angles in the Pre Crash scene are used effectively. The audience sees the cockpit and all the action in the crash scene from Chuck’s point of view. The directors use “still-cameras” in order to maintain the calm atmosphere within the “pre crash” scene. Moreover, slow panning and zooming is used so that the scene is not lively with a lot of movement. The audiences’ sense of tension is increased as they view the whole scene through the point of view of Chuck; the audience share the fear of his precarious situation. The director’s conscious omission of any long shots of the plane from outside of the cockpit, never allows the audience to asses the crash clearly and objectively which creates even more tension and unpredictability. The relationship between the audience and Chuck is strengthened and emotional attachment to Chuck reinforced as the camera is never shot from any other character’s point of view.
Dialogue is used throughout the crash scene to get a sense of emotion. For example, the dialogue can be used for a sense of humour, panic and fear. It is used effectively in the “Pre Crash” scene for the audience to become calm, and for them to prepare for the crash.
“Chuck: ‘Ha-ha, you pilots are funny’”
“Chuck: ‘Is this turbulence from Santa and those eight tiny reindeers?’”
The speech also shows indication of trouble, and hints something is going to happen soon.
The dialogue from the pilots sounds formal and technically accurate (due to the director using professional safety officers to advice) and therefore reinforces the controlled and calm atmosphere created.
“...Tahiti control, Fed Ex 88 … Position Jena at 1526 …”
The pilots use a sophisticated language which makes the audience and Chuck reassured that everything is under control.
“…We’re 200 miles south of original course…” This is another indication that there is something going wrong, however with the pilots speaking in a sophisticated language, it makes us calm.
There are naturalistic sounds created in the pre-crash scene, which is used effectively. There is no background music used in the pre-crash scene to make the whole setting seem real and to suspend the audience’s disbelief. Robert Zemeckis doesn’t use music in this part of the scene as it would make the whole plane setting seem just like a normal film, and the audience wouldn’t have any connections with the movie. They wouldn’t be drawn into the film as effectively with music, than without. Moreover, notions of sound would also help indicate the crash coming, and this wouldn’t suspend the audience’s disbelief.
At the start of the pre-crash sequence, we see Chuck sleeping in his chair, with his shoes off. This prop is used to reassure the audience, and to suspend the audience’s disbelief. Moreover, Chuck removes his watch whilst washing his face. This is symbolic as he is about to loose control over time, and is another indication of something terrible about to commence. The scene proceeds with Chuck slowly pulling off a plaster from his finger. This generates a feeling of calm and sense of security in the audience as this shows a tedious act and seems as an insignificant act. The shock and surprise of the audience is consequently heightened when the crash begins with the removing of the plaster being an effective contrasting counterpoint to the crash.
The crash scene is set out differently in contrast to the pre-crash scene. The calm, secure atmosphere changes abruptly when the change of air pressure and sudden loud noises fill the air.
Noise and sound is used in this sequence to reveal the desperation in the crash scene. The sound is used in contrasting manners in both the pre and post crash sections of the scene. The sound before the crash sequence is natural, every sound effect and line of dialogue is clearly heard and the audience feels secure in understanding what is happening. However, when the crash scene begins the sound shifts, only focusing on the predominant sounds in the plane that reflect that the plane is crashing.
The directors play around with the noise to create “pink noise” which is all the different sounds heard in the crash scene playing at once. It is effective as it is realistic, and seems like a plane crash, and makes the audience sympathise for Chuck who is yet unsure of what is going on. The focusing on only the major sounds of the plane crash are from Chuck’s point of view, which strengthens our relationship with him but is also a technique to avoid creating ‘pink noise’ which would be a more realistic portrayal of all the sounds which would be heard, but would be just a confusing din and would be difficult to recognise as the sound of a plane crashing.
Wind noise is used as the central noise which acts like the change of air pressure noise and the engine noises. Directors play around with the noise, and lower the “pink noise”, so that we can notice the main sounds such as the movement of cargo noises. Also, the noise of the pilots specking is interfered with the pink noise; you can hear them shouting, but cannot make out what they are saying.
The use of camera, and camera angles are used well in the crash sequence. Hand held cameras are used, with motors on the camera to generate movement and shake to empathise the plane is out of control. This is contrast to the cameras which were used in the pre-crash scene, where “stand still” cameras were used.
The whole crash is seen through Chuck’s point of view; the audience shares Chuck’s uncertainty of the crash situation. The relationship between Chuck and the audience is strong when the plane is diving towards the sea. The moment of realisation that the plane will actually crash occurs when through the cockpit window the clouds clear and Chuck and the audience can view the oncoming sea. The use of quick shots is effective in this part of the crash scene, where the camera angles flick to the sea and back to Chuck and his facial expressions. It shows his first expressions when he realises that they are about to crash.
Mise-en-scene is used in the crash scene effectively. Robert Zemeckis gets every single detail in the frame, and presents a great opening to the crash scene. An example of this is using flashing lights in the cockpit which symbolises the visual indication that the plane is out of control. The audience is hampered by the dialogue being masked and the camera angles being erratic, so the flashing lights are a strong signal that the atmosphere in the plane has shifted from potential danger to a state of a real loss of control and actual danger.
One of the elements of the crash sequence that creates an intense reaction from the audience is the head injury to the co-pilot. This is an effective manipulation of make up in order for the audience to feel squeamish; the director makes the actor cover his head with his hands, making the audience imagine the severity of the injury, while using realistic looking blood to ooze over the floor. This indicates that the crash is real and the danger is real.
After the plane crashing into the water, Chuck is left hopeless and is fighting for survival. The post-crash scene is a lot different from the pre-crash and crash scene, as it is showing realism with the main character put into danger. The audience feels the sense of panic, helplessness and vulnerability as we share the same emotions as Chuck. The lighting is manipulated effectively to contrast the pre-crash and post-crash scene. There is a simple transition of light to dark, light representing safety and dark signifying danger. It is used effectively to contrast the two different crash sequences.
Mise-en-scene is used particularly well in this part of the crash sequence where the camera angle zooms out of Chuck is in the life raft, so you can fit the huge waves in the frame. It is effective as it shows Chuck insignificant next to the waves. Also, the use of “weather” creates a sense of vulnerability. It makes the atmosphere desolated, and it fits the scene.
The uses of blackouts during the crash sequence are used to both create a response of high tension in the audience as well as generate an atmosphere of unpredictability and danger in the scene. The blackouts occur intermittently throughout the period that Chuck is grasping to his life raft while at the mercy of the huge computer generated waves. The blackouts are fleeting at first (0.5-1.5 seconds) before increasing in length as the storm becomes more intense and the waves more ferocious. The blackouts could be interpreted as Chuck losing consciousness as his situation becomes more precarious creating an ever increasing atmosphere of uncertainty and danger. The blackouts also blind the audience and do not allow them a get a clear assessment of Chuck’s situation and therefore cannot judge Chuck’s chances of survival. The final blackout is significant in length which permits the audience time to speculate on the outcome and predicament the crash and storm have had on Chuck. As the time elapses the audience suspect the worst, so the sound of the life raft bursting accompanied with the shot of Chuck being washed ashore is welcome relief to the tense audience.
Computer generated images are used effectively when the plane has crashed and sinking slowly in the sea. The massive waves, engine exploding and plane sinking are all CGI effects. Zemeckis chose to use CGI to produce both the waves and a plane which would continue to suspend the audience’s disbelief through appearing realistic in detail and size, while confirming Chuck’s shift from controlling to loss of control.
The engine breaking and the large metallic sounds of metal breaking are used to compare Chuck with the sounds of large metal. It shows Chuck is insignificant compared to all the large objects surrounding him. The sound contrasts with the Pre crash scene where the use of no music used to create the atmosphere. In the post crash scene, sounds of water, waves and rain is used effectively to give the audience a chance to take the whole crash sequence in, and for them to think about Chuck.
The director uses props such as the paddle when Chuck enters the raft. It is useful as it shows that the paddle is completely useless in comparison to the huge waves, and shows Chuck is helpless in deciding his fate. He throws the paddle into the water and hangs onto the raft, clinging to his fate.
