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There Will Be Blood Shot Analysis Essay

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Analysis: The Bandy Tract Sequence from Paul Thomas Anderson’s There Will Be Blood (2007)

Actors: Daniel Day Lewis (Daniel Plainview), Kevin J. O’Connor (Henry), Jim Downey (Al Rose), Ciarán Hinds (Fletcher), Colton Woodward (Bandy’s Grandson).
Sound Credits
Sound Mixer: John Pritchett
Boom Operator: David M. Roberts
Utility Sound Technician: Kelly Doran
Sound Designer: Christopher Scarabosio
Music: Jonny Greenwood

Shot Breakdown A. Inn/Restaurant and Outside

1. WS-MS. Zooms in.
Begins with a wide shot of 3 men sitting around a table. There is a woman preparing food in the right middle ground. A gradual zoom begins and Daniel Plainview’s assistant Fletcher enters from right. All the while, the shot is still zooming to bring focus …show more content…
are added.
9. CU
This shot is similar to shot 7. The shot is taken from the same low angle but this time there is little to no zoom used. Sound: Violins now imitate the earlier descending figure and this is layered over the pizzicato strings.
10. OSS-MS. Panning is used from left to right.
Plainview rides off from left out of view. The camera then quickly pans from left to right through Bandy’s house. It then becomes a MS of Plainview peering through a window in the house before he rides off. A man can be seen hammering a rod into the ground also. Sound: Descending figure as Plainview decides to leave. Percussion is heard for the first time in the sequence. The percussion creates unease with its syncopated rhythms. Foley sounds include; horse’s hooves, the reins, hammer hitting steel marker.

C. Landscape/ Bandy Tract

11. Cut to CU of hand
Close up of hand holding a steel marker whilst hammering it into the ground. Once finished, the man walks away but the camera does not follow him, focus is put on the marker. Another man is seen briefly riding on horseback into shot from …show more content…
Although at times the visual experience is a complete contrast to the audio, for example the fast paced tribal-esque music matched with the serene, tranquil images of the land in shot 12. This is a fundamental factor in the style of the sequence. It helps to depict honestly the rawness of the property without sacrificing the beauty of the landscape, whilst at the same time; it delivers the viewer with Plainview’s intentions for the Bandy tract through Greenwood’s piece “Proven Lands”.

Some might argue that because the audio and visual are in contrast that they are working against each other rather than together, but the proof that they are working together is in the fact that the sequence can convey two things at once; the want to preserve all that Bandy has worked for as well as the underlying currents of Plainview’s imminent

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