Luhrmann focuses on using eye level angles and a lot of dolly movement. At the beginning of the scene when Romeo is crashing into things, the dolly movement follows him. It continues when he says, “But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun. / Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief / That thou, her maid, art far more fair than she” (2.2.2-6). The camera movement is the same when both he and Juliet are in the pool. Luhrmann also focuses on the angle of the camera being at eye level. This angle is used a lot in this scene and Luhrmann rarely uses high and low angles. This use of different camera angles and movement clearly represent the ignorance of Romeo and Juliet. The excessive dolly movement helps show the rashness of their future decisions. When the camera is at eye level and zoomed into their faces it helps evoke the feeling that the characters truly think they are in love. Zeffirelli also uses camera angles and motion, but in a different way. Whereas Luhrmann positions the camera at eye level with much dolly movement, Zeffirelli uses much more high and low angles with a more stationary viewpoint when showing the characters. This is especially seen when
Luhrmann focuses on using eye level angles and a lot of dolly movement. At the beginning of the scene when Romeo is crashing into things, the dolly movement follows him. It continues when he says, “But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun. / Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief / That thou, her maid, art far more fair than she” (2.2.2-6). The camera movement is the same when both he and Juliet are in the pool. Luhrmann also focuses on the angle of the camera being at eye level. This angle is used a lot in this scene and Luhrmann rarely uses high and low angles. This use of different camera angles and movement clearly represent the ignorance of Romeo and Juliet. The excessive dolly movement helps show the rashness of their future decisions. When the camera is at eye level and zoomed into their faces it helps evoke the feeling that the characters truly think they are in love. Zeffirelli also uses camera angles and motion, but in a different way. Whereas Luhrmann positions the camera at eye level with much dolly movement, Zeffirelli uses much more high and low angles with a more stationary viewpoint when showing the characters. This is especially seen when