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| The scene opens on a MS of an anxious Clarice Starling who is trying to get the infamous serial killer, Hannibal Lecter, to help her with an investigation. The scene is dimly lit with plenty of shadows in the background to emphasize the eeriness of the prison. She is positioned on the right third to give her plenty of talking room. |
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| We then switch to an over the shoulder shot of Dr. Lecter as he begins to thumb through the documents. Once again the director uses plenty of shadows and keeps a mundane color pallet with all dark and dull colors to set the mood of the prison. They use a few key lights in the back to show the limits of the cell walls giving a perception of Dr. Lecter confined in this small space. |
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| Next, we move in to a ECU of Dr. Lecter thumbing through the documents. The director shows the significance of the item by using a shallow depth of field so the audience is not distracted by what's in the background. |
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| Then, we move to a bust shot of Dr. Lecter ask he gives his reaction to the documents. Once again the character is positioned of the right third to give him plenty of talking room. |
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| Clarice's reaction shot comes next. The shot is tighter than the previous medium shot she was shown in, making it a tight shot. This allows the audience to see more of her facial expressions which makes the scene more intimate and evokes more emotion. |
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| We then move to a bust shot of Dr. Lecter. The camera slowly moves in on his face and tilts slightly up, giving a sense of fear to the audience. It slowly pulls closer to Dr. Lecter, using a shallow depth of field to really focus in on the character and give him prominence over the rest of the shot. The shadow on the right side of his face contrasts the rest of his well lit face to add a lighting dynamic to the shot. |
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| Clarice is positioned on the left third of the shot this time in an even tighter CU then before which, allows the audience to see the old radiator in the background that almost look like prison bars. The CU allows us to see more facial expression from her. The light is hitting her face on the left side creating harsh shadows on the right side of her face, similar to that of Dr. Lecter in the previous shot. |
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| We transition to a panning MS. Dr. Lecter then moves across the room, from right to left, to give something to Clarice. As he does this, he makes eye contact with her as the shadow from the metal beam crosses his body. This adds to the feeling of being captive that the director is trying to communicate to the audience. |
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| Now Clarice is positioned in the middle of the shot making her the center of attention. The camera moves back a little bit from her previous shot to communicate the audience distancing themselves from her as the scene begins to end. The shallow depth of field further focuses the audience on her. |
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| The shot then switches to an ECU of Dr. Lecter as he responds to Clarice. Having the metal beam with the shadow in the shot communicates to the audience that there is still a barrier between the two characters. The lighting emphasizes the character's eyes to demonstate a heightened sense of insanity. |
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| Now Clarice is in a tight shot the center of the fame again with a shallow depth of field to make her the center of attention. |
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| The next shot is a panning tight shot that transitions to a medium shot as Dr. Lecter walks away from the camera. There isn't anything else in the shot besides the beam making him our focus. |
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| As the dialogue ends, we switch to a wide shot with Clarice in the foreground. The hallway is very dimly lit and long making Clarice seem isolated from anything that is positive due to the lack of color. The camera tracks her as she stands up and walks away from the camera to make the audience feel like they have a fly-on-the-wall view of her. The scene ends on a very despairing note as she slowly walks away from the chair down the long, dark prison hallway. |
