Quiet non-diegetic orchestral harmonious music, mostly major chords as she calmly walks around her room.
Diegetic/natural sounds of her writing, sighing, flushing the toilet, her footsteps and then the sound of the shower water running.
Different shots of her in the shower before we see shadow of man approaching through the shower curtain.
As we see the figure, classic sharp high pitched stirings are introduced which help to create the sense of horror, followed by the shrill bloodcurdling scream.
After the scream there are dissonant low chords introduced as the woman is stabbed.
Low minor strings are introduced as she slowly dies - which fade out to leave the only sound of the shower running.
Final shot is v.effective: the slow zoom away from her glazed over eye as she lies collapsed over the edge of the bath.
Escaping in Naples scene from the BOURNE SUPREMACY
During the interrogation the technique of shot-reverse-shot has been used, showing both perspectives of the monotonous one sided conversation.
There are slight atmospheric noises building up in background which give sense of suspense.
The diegetic phone call abruptly cuts the interview short, followed by a slight silent pause before interrogator ends phone call.
Fast paced shots as interrogator pulls out gun, blurry filming (possibly handheld) to show the action and speed of the situation before Bourne knocks out both of the men.
Fast pounding music kicks in and rythmic strings are introduced as Bourne extracts information from the interrogator's phone, which helps to create the sense of urgency
Quick drums are introduced as Bourne races through the carpark being filmed shakily as he tries to locate the correct car and change the number plate.
Inside the car Bourne is sidelit with chiaroscuro lighting which produces an ominous atmosphere as he spies on the phone conversation between Landy and the interrogator.
Why are the opening scenes of certain films so effective?
COLLATERAL by Michael Mann
Techniques used to create a thrilling and memorable opening:
The use of an open frame conveys the idea of a busy atmosphere, people bustling in and out of the airport shots. Gives a sense that there is life going on around the characters, instead of a closed frame which would purposefully focus on the main character(s).
The quick cross-cutting between the two characters is thrilling, creates a sense of mystery - who are these people?
The quick pan down to the briefcases and then the swapping of creates again a sense of mystery and intrigue for the viewer.
The hyperbolic sound of the briefcase being dropped is shocking, it has been enhanced and expanded for maximum effect.
The two main characters are clearly highlighted as important because when shown, everything in the frame is blurred out except for their faces which are sharply in focus.
The slow motion and reverbing background noise create tension.
The viewer follows the villain (Tom Cruise) as he leaves the airport by the camera over his shoulder, we see things from his perspective.
The montage of small details of the airport as Cruise leaves helps to set the scene of the area, and then of the taxi driver (Jamie Foxx), which helps to introduce his character to the viewer.
Foxx is slowly introduced through the use of mid shots, a close up of his glasses, his pen/crossword (which aid to giving him an intellectual image) and then finally to his face. This helps to paint him first in his environment.
As Foxx shuts the door of his cab, the background noises stop and it becomes a closed frame. There is no bustling, the frame is completely focused on him - sense of foreboding.
Foxx's character is also shown through the cool colours in the cab, contrasting to the sweaty red/orange hues surrounding him. He is portrayed as cool, intellectual, sophisticated.
THE DARK KNIGHT RISES by Christopher Nolan
The film opens with a swooping crane dolly over the city, focusing in on the windows of the building - creating a sense of foreboding before the sudden crash of glass which is shocking and memorable.
The chaotic crosscutting between robbers in different parts of the city gives the viewer a sense of pace and the thrill of the heist.
When the first clown is shot, the depth of field blurring out the shooter creates a ominous atmosphere, which sharply cuts back into focus as the man is shot.
The camera is moving/dollying at all times, which again creates a sense of pace and chaotic excitement.
At the end of the clip before the bus crashes through the wall, the background pounding music quietens to silence, which again creates a sense of uncertainty and foreboding.
KIDULTHOOD by Menhaj Huda
The sharp focusing in on different people as well as tuning into their individual conversations gives an interesting effect, of being watched perhaps.
Very open frame, we get a sense of the bustling atmosphere of the playground, teenagers and children running in and out of the frame in a blur/haze.
Throughout the opening there is constant cutting to the boy with the drill which gives a sense of mystery, what is so significant about him? Sets the scene for main character(s).
There is a constant whip pan, which gives the viewer a feeling that someone in the playground is filming this. The camerawork seems uncontrolled and chaotic - moving like a human eye so the viewer feels like a fly on the wall.
