Shot size, angle and camera movement

At the very start of the sequence, from the black screen ( with the exception of the warner bros font sign..) the fog and swirling sky come up from the bottom right hand corner, and the camera sweeps down and across the screen or the shot.This gives us the illusion that the camera is looking at the scene as it follows down to the right and sweeps across the setting until it comes to the outside of Mrs Lovett's pie shop and rooms. The camera pans over towards Mrs Lovett's meat pie shop, and the attic window. The camera zooms up and angles over it, in a high angle. ( crane or bird's eye view ). This makes the object below ( poor Albert's chair ) seem threatening and dangerous as it sits alone in the abandoned barber shop. From outside the barber shop to inside, there is a cut straight to the silhouettes on the wall. This shows a change in setting, the camera moving from outside to inside in a swift movement. This is also an establishing take, as we get a sense of the setting of the film and the outside of the London town. 

In the shot above we can see that the shot uses shallow focus: the chimney at the foreground in shadow, yet the side with the detailed grooves, the background chimneys are detectable but not detailed and so gives the impression of many houses in the area. 

The close ups in the opening sequence are mainly in the barber shop; these being of the arms of the chair: of the lion's face, the shot before also encompassing the silhouettes, the wall and then rushes forward to show the chair as well. There is a deep focus: meaning that we can still see the detail behind the chair, although it is meant to be the main focus as it is in the forefront of the shot. These close ups show the intimacy of the relationship and significance between the objects in relation to the plot and that the blood is of great importance. Below: One of the straight shots that make the audience feel that the blood is rushing towards them, and are in the world that Tim Burton has created within the opening sequence of Sweeney Todd.

The camera follows the blood on its journey through the barber shop, bakehouse and the London sewers. This is done with tracking and also as if it were the victim's falling to their demise. The camera zooms out on occasion, as the oven door is shut, the blood creeps over the arms of the chair and this is done to show more detail and is as though it is sweeping through the scene. As the blood runs down to the bakehouse there is a high shot when the floorboards give way, and this is met with a cut to a mid-shot, and met with a straight on shot of the meat strands coming out of the mincer. When the door of the oven shuts it is a medium shot and the camera pans across to the left, taking in the rest of the setting: the sewer tunnel and the emergence of the blood in the gutter. The camera then follows this by tracking backward whilst the blood trickles forward. It is almost as though the blood is rushing toward or chasing the camera backward. There do not seem to be any really extreme close ups in the opening sequence, which keeps the viewer at a close distance from the action, and as there are no characters or dialogue in the opening the viewer is observing and noting the action but does not emotionally connect as perhaps you might if there were characters in the opening.

Note: Composition of shot, slight high angle and medium shot, showing some detail and most of the scene at this point.

There are also not a lot of straight shots in the opening. These are used so that the viewer can connect with the action or emotion that the character is portraying. There are a lot of camera angles used, such as high angle, tilt and also zooming in and out. This creates variety for the viewer and also creates an unsettling feel that matches the images in the sequence and also gives it a distorted and quirky mood. I think that Tim Burton and the designers of the opening have used this so the audience can feel that they are in the world created, yet are still not completely sure of what will happen, just snippets of the plot line and a curiosity is roused from the opening not having dialogue, song or the characters present. The use of composition within the shot also plays a part, for example, in the shot above the sewer grate is in the top right hand corner, the blood and gutter coming out of this to the bottom left corner in a diagonal pattern and the top third of the shot is in darkness. This use of lines and shapes makes the composition visually interesting, and the actual camera angle and shot does not have to be tilted as the visual elements create the atmosphere needed. A slight high angle on the camera helps to establish a sense of threat or suspense however.

Shay Hamias- designer and director of "th1ng", view on his role in the title sequence:

I was then referencing for the film shoot, stills, Photoshop painting etc. and basically was making sure that everyone in the team kept the same style across all the mediums. So all in all, I was directing the animation, timing and movement, and then at the final stage I was putting all the elements together in composition with my team.”

In the shot above we can see the use of a deep focus shot which shows both the object in the foreground and the background in detail. The effect is threatening and the heavy machinery is predominant in the shot. This effectively portrays a sense of control and danger because of the impersonality of the objects and the fact that they take up the majority of the shot. The notorious theme of the blood and the visual journey of dread fits well with the imagery of machinery, the flames and the links with the sewer and bakehouse through the shot above, and the shots previously mentioned. The differing shot sizes, varying angles and the movement of the camera all contributed to the completion and visual intricacy of the opening sequence.

Editing, transitions

The editing ( selection and assembly of shots) and transitions ( how the scenes and shots are combined, with which technique) in Sweeney Todd are cleverly done. In comparison to some older Horror films, the advances in editing and transitions are on a huge scale and are seamless and natural in Sweeney Todd. Some of the transitions include fade to black, wipe, (contrast) cuts and fade ins, in the opening sequence. Throughout the film there are varying types of transitions and editing practices that provide contrast, to do with change of plot or mood, emphasis on certain parts of the plot, time or different parts of the story, for example, Mrs Lovett's fantasies or Mr Todd's flashbacks to his earlier life.

The first camera shot of the film is a sweeping shot, that follows down from the sky to pass over the Victorian London buildings and rooftops, it is as if the camera is taking a sort of panorama of the setting. This shot helps to establish the setting and the type of buildings connotate the time and place that the film are set in. The shot gives the feeling of mystery and is eerie and dream-like. This has the use of decoupage; which allows the shot to be seamless and continue the viewer's journey or story into the barber shop without any interruptions. The music fits with this shot, as it is continuous and does not escalate in pace or pitch at this point. The effect of this is a smooth entrance to the film, allowing the viewer to focus on the story and images rather than the editing or creation of the film, as it is done in a coherent manner.

Once we see the chair cogs, there are several quick cuts to the other cogs as we see the blood traveling down the cogs of the chair, and the bakehouse machine. There is another cut as we see the blood filling up the cog mechanism and as it drips from the machine and runs forward on the floorboards, the floorboard seems to give way, as it would with Mr Todd's mechanism; and seems to fall to the bakehouse as we see the title of the film appear. These quick cuts are effective as the movement of the blood in the takes that follow are slow and contrasts to the speed of the cuts. Also, it gives the heightened atmosphere of danger, suspense and the continuation, or movement of the blood on its journey through the London setting. Below, the blood drop that then runs out of the next shot, the brown floorboards give way soon after the second shot, to fall to the title.

An example of the use of fade is the transition from the title to the meat worms coming out of the mincer. Just before this happens the title fades to black, and the image then comes out of the darkness is the meat worms. This is an example of a fade out, the title fading out, and then the meat strands fading in. There is more shadow added, and the colour gets darker as the meat strands transitions into blood drops, these drops then falls onto the floor/bench and create the red swirl. This is a smooth, cleverly designed transition as it also links the idea of the blood of the victims from the previous takes, and introduces the viewer to the fact that the meat is actually human flesh (shown by the blood drops). This creates a tense feel, and once again heightens the atmosphere.

The meat strands transitioning into the blood drops: note: link of blood from victims and the pie meat.

Straight after this shot, flames push up from bottom of the screen; an example of a wipe, as the flames replace the red swirl. This is an effective link as it shows the time change or the process of the preparation to cook the pies progressing as the oven is heated up with coal or such material. The next shot is similar to this one; with the pies on the shelf cooking. We can also see the flames at the bottom of the shot, coming out of the bottom of the oven, and so this is a link to the previous shot. This is significant as it shows the process evolving. This is a contrasting cut as it has part of the subject matter from the shot or take before in it, and gives significance to the two shots being related. 

The flames wiping up from the bottom of the shot.

The next transitions are the cut from the blood travelling down the sewer hole to one trickle of blood going down the front bit of the concrete wall ( see picture below), as this flows down we can see that the tunnel underneath is in fact where the blood came from, so this is another example of the contrasting juxtaposition of the shots, before and after having the returning object of blood, yet in a different place, shows the movement and progression of the blood. We see the blood and water rush out from the left, out a different small tunnel, showing that the blood has been through the whole of the sewer, and could be seen as seeping into the whole of London; the blood will not be washed away as easily as Mrs Lovett of Mr Todd may have liked.

Blood trickling down the concrete wall: note: under the arch  is the trough and tunnel that the blood came from.

 The continuing shots and images of the sewer, the damp, dark tunnels, rats and vermin, blood and the burning flames of the dungeon- like oven and bakehouse reinforce the idea of filth, dirt, deception and corruption in the film. The viewer is positioned to be curious as to where the blood ends up, to see what happens to Sweeney after his murderous behaviour, and to find out more about the source of the blood and the actions behind the set up created by these cuts, shots and transitions.

After the blood rushes down the trough to the grates at the end of the sewer and spills through to the final part of the sewer before flowing out to sea, the blood transitions into a sort of reflection, the colours mingling, and this is done in a dissolve technique. The visibility of the shot is changed, so the colour seems washed out and more dull. It fades to a softer blue before transitioning to a misty grey. This relates back to the beginning of the opening sequence when the sky is thick with rain and mysterious with the swirling blues. The next transition is very smooth, slowly changing into a shot of the ship. This creates a link between the two objects, of the blood in the sewer and the boat ( which Sweeney Todd and Anthony are sailing into the London harbour on). The blue transitions to a milky grey, which in turn becomes the fog that the ship sails out of. This is also able to be related to the vermin in the sewer, of which Sweeney sings of when he is on the ship with Anthony in the first bit of the next scene:

" There's a hole in the world like a great black pit, and the vermin of the world inhabit it, and its morals aren't worth what a pig could spit and it goes by the name of London."  

 Here Sweeney voices his opinion on the people of London; that the people have no morals ( reference to the corrupt judge imprisoning him on a false charge), the people are compared to the dark, grimy sewer, with its rats and filth that has just been shown; which links the song to the previous visual transitions. This makes the last transition appropriate in my view, as it ties the sewer and imagery to the ship, to Sweeney and was an interesting way to tie together the opening sequence and the start of the first scene of the film. Below: the contrast and comparison between the opening shot of the sky, the last shot of the Director, Tim Burton and the first shot of the first scene of the film, the ship emerging from the mist, transitioning from the second to third pictures.

Lighting, use of shadow and colour...

 One of the first images we are introduced to is a swirling, morose sky. The dark blue in the mix provides a kind of shadow for the lighter aqua blue. The moodiness that this creates makes the audience aware of the tone of the film and the backdrop together with the dark, black, shady-looking chimneys and rooftops give a distinct impression of the gloomy 19th century London setting. The sky almost has a supernatural or surreal feel: which is something that Tim Burton often incorporates; the mix of surrealism and fantasy into his work. The blue sky seems almost bright against the ever-dark buildings in the forefront of this shot, the only other colour being the red blood drops and the barber's pole. Also, a cold white is used for raindrops and for the font. A small amount of white is also in the sky; making it appear almost 3 dimensional in the cloud and providing a lighter contrast to the dark objects in the opening.

This is effective for use of colour in that it links well with the haunting music, and introduces the tone of the film; we are introduced to the blood-red, the significance of the rich colour and the dark colours. The viewer is submerged into this darker feeling film, the desaturated colour and the shades of colour helping to do so. The feel is created by the depth of the colour, the shadow and the black of the objects and the tonal sky collectively creating and showing a sombre, mysterious scene. A thick, repressive atmosphere is created, and pieces of the story are hinted at by the use of the blue and neutral colours. The tonality of the opening, the contrast between shadow and darkness with small amounts of white or gel coloured light even hints at the nature of the film; the goodness contrasting with the corruption.

Note: red and white barber pole, blood drops, juxtaposition and contrast in light and shadow

Tim Burton on the effect of the film being almost black and white, choosing to have some scenes desaturated and darker with the fantasy and flashback scenes in bright colour: 

"Well, we did a lot of testing beforehand. ... We consciously didn't put a lot of color in the sets or the costumes ... just splashes of color when we felt it was necessary. It seemed appropriate to use color through the characters' eyes, in the sense of his flashbacks being more lurid (sort of the opposite of flashbacks which are usually more desaturated, we inverted that because it seemed more appropriate of the telling of the story ) and her fantasy of a wonderful life by the seaside more optimistic and romantic."

 There is a change from the desaturated dark blues and blacks in the opening sequence when the viewer is plunged into the bakehouse and the sewers; browns and stale yellows are introduced. For example, in the shot below, the meat of "unknown origin" is being squeezed out of Mrs Lovett's mincer. It is a rich Burgundy brown colour which shortly after this shot has blood dripping out of the strands. This links the idea of the human flesh being in the meat or pies. The use of brown here distinctly shows a change of setting: from the outside setting to the barber shop, down into the bakehouse. It shows the process well; some of the colours are brighter here, yet they have a sinister connotation. The heavy shadow around the meat strands seems to be enclosing or creeping in on the meat, perhaps showing that the dark nature of the murders is following through all of the sequence, all of the film, affecting all of the characters ( Mrs Lovett in that she is an accomplice, for example.)

The "unknown origin" meat, note: the brown rusty colour, and heavy shadow surrounding the meat.

The progression from the mincer and oven to the sewers shows another change of colour and use of light and shadow. Here the brown is used as a sort of highlighting tool; making the sewer seem partly rusty and dirty. The darker shadows contrasting with this. The viewer focuses on the rich red flowing through the sewer hole. The tinge of blue and white in the shot links to the previous colours used, and the use of the brown, white,blue and black tie together to create a realistic sewer setting. The emotional response to a shot such as the one below is a feeling of perhaps disgust, and realization of the intensity of the situation: the corruption and murder spreads throughout the whole of London, even into the sewers with the filth, grime and vermin. Once again the red is stark and bright against the other colours. There is another change or addition to the colour, when the flames from the oven are shown, bright yellow, orange and white light up the screen. This too is shocking and unexpected as you get into the dreary,desaturated world that Burton creates for you. This heightens the atmosphere and mood of curiosity and repulsion. Sewers are not usually desirable places, as they are seen to be dirty, housing waste, rats and disease; the effect of adding a victim's blood is startling and the red brings the sequence to life, or shows the loss of life.

Note: soft brown and blue tinge, dark shadow and bright blood.

 Tim Burton's view on the use of colour:

"Yeah, red is a funny colour on film because it's the most volatile colour and it changes," he says. "We had probably 20 different shades that we were toying around with because we wanted to create a theatrical crimson."

He wanted the effect to be dramatic, theatrical and shocking. The shade of red used for the blood creates a strong atmosphere and it is in a Burton-esque style, so as not to be of bad taste, but stylistically and artistically used for effect. Certain colours being accentuated ( the blood and the frills on Mrs Lovett's dress) helped to carry this atmosphere throughout the film. He has also said that they decided to use more blood to keep the film less graphic; sometimes if the blood or violence isn't shown there is a tendency for it to be more real and therefore with more gore and disturbing elements.

"we just decided to go for it in the spirit of those old melodramas."

The palette in the film compares to other films of the horror genre in that many old horror films were actually in black and white. ( Burton loves old horror movies and so one could say has been partially influenced by them..) The introduction of blood, gore, the colour red and in some movies, monochromatic colour or darker colours relates in these ways to Burton's film, although the blood is more artificial and the focus is less on the gore or disgust that is created in many other Horror films.

Tim Burton often uses heavy shadows and careful use of light in his films, also a range of tonal shades within his colour palette. Often, there are greys, black, neutrals and significant choice of bright colours for effect. For example, in Sweeney, the artificial blood red, in Edward Scissorhands the blue/purple, white and grey in Edward's castle.

 In the shots below we can see the blood and water gushing from the sewer and dispersing into the water, and out to sea. This is at the end of the opening sequence and is a strong image to finish with, before the film continues or introduces dialogue and characters.

 Towards the end of the opening sequence the rich red mingles with the water in the sewer. This water is quite stylized as well, a brighter blue hue, which ties back to the first sight of the sky and the surreal feel of the film. When the two strong colours mix there is a symbolism and significance; the remains are being mixed into the sea and washed away, perhaps it could even be seen as part of Sweeney's goodness vanishing as each murder pushes him further into his obsession for revenge on account of the death of his wife, and further away from reality and humanity. The use of light, manipulation of shadow and significant and purposeful selection of colour is apparent throughout the opening sequence and throughout the entire film.

The target audience for Sweeney Todd is varied, in my opinion. Well, I love it, and I think my mum even enjoyed it :P ( minus the violence, perhaps! ) For Tim Burton lovers, of course, and those that enjoy musicals and horrors: but Sweeney is not conventionally either of those genres, there are elements of both, so I think anyone who can enjoy a stylistic and meticulously created film with surreal aspects and a unique storyline, capable of handling some blood and violence would enjoy Sweeney Todd.

Lighting, use of shadow and colour

At first, it almost seems that the film has been shot in black and white. The opening sequence, and in fact the entire film is shot in such a way that emphasizes the importance of the use of light and the manipulation of shadow. Another very important aspect of the film is the use of colour. A lot of dark, murky- type colours have been used, such as many varying shades of gray, dirty whites and neutrals; as well as dark blue, brown and green hues. ( In some parts the green/blue tinge is faint, yet still adds to the effect. An example of this is the colours of the floorboards in the barber shop room, that are blue/green tinged at times, making them seem damp,rotting and decaying.) Certainly the predominant colours in Sweeney Todd are dark and cold; as shown in the opening sequence as well as the rest of the film. The cold colours represent and portray a cold atmosphere: For example the dark billowing smoke, black and grey sewers showing a sense of grime and filth. The use of bright pastels and vibrant colours in Mrs Lovett's dreams, and Sweeney Todd's flashbacks to his earlier, happier life show a stark contrast to the bleak, glum reality and setting of the present time in the film.

Here we can see some of the dark shadows, the blue/green tinge, the stone grey and the bright red blood

The vivid, shocking red that is used for the blood in the opening sequence, and the blood of Sweeney's victims is thick, gooey, artificial and almost comical-looking. This adds to the blood a surreal and handmade feel; which Tim Burton uses a lot in his films, it seems almost a signature of his to have quirky, unusual concepts such as this. In turn, the style of the blood draws attention to the specific horror aspect and detail of the film. The blood stands out because it has been made in the way mentioned above. The focus on the film is not to be overly scary or have too much of the horror elements that the classics have; in that their blood is realistic and a focus is on the viewer being horrified or disgusted. Yet Mr Burton's blood concept in Sweeney is used in a stylistically artistic way in order to progress the story and the unexpected brightness of the colour in the opening sequence surprises the viewer. It highlights the importance that the recurring presence that the blood holds in the film. The blood drops that fall with the rain link the sadness and violence together. At the beginning we just see a dreary, gloomy London town; the buildings which connotate the 19th Century London place and time.The colour is used to show symbolic and important objects; the blood drops intermingled with the rain, the barber shop red and white-striped pole, the blood, and later in the film a red on some of Mrs Lovett's outfits are examples of the carefully placed use of the colour red and the stylistic blood.

Shot from Mrs Lovett's fantasy: note positive colours

In the picture above, which is from a later scene in the film; Mrs Lovett's "By the Sea" fantasy, has a light and positive tone, and could show a change in Mr Todd and Mrs Lovett's lives, at least from Mrs Lovett's viewpoint. Colour has been used to show a change in tone, the mood created is whimsical and soft; created by the warm hues: orange, red, navy, light blue, the creamy sand beach and soft clouds. The idea of the couple together,vacationing is supported by this. The striped pattern on their clothing also links them together, in that they are wearing matching stripes.

In comparison to the shot below, which is the actual situation; Sweeney, Mrs Lovett and Toby on a picnic. It is a big change in relation to the rest of the film, a welcome release of tension and change in setting, yet it is seen to be an unusual change from their normal, depressive lives and murderous occupations.  The cloud colour is more misty with dark and grey shadows.The colour is desaturated and almost flat; creating a limp and lifeless feel. Also, all of the character's clothing is in dreary, neutral colours, the style and fabric depicting that of a lower class.The lighting in this shot is interesting, in that it is quite light: the clouds, the clothing and faces, yet the clouds and the tree overhanging the trio make it seem almost ominous, and dreary with the use of shadow.

Actual situation: darker shadows and colours

The use of the lighting in the image below, and the heavy manipulation of shadow enhances the mood and the feel of the situation, the seriousness and darkness of Sweeney's songs and message behind his words are paired with this strong image. The dark shadows on Mrs Lovett's eyes and around her neck in contrast to the whiteness of her skin and partly illuminated face play up the contrast in the light and shadow even more so; Sweeney's face in in the shadow; half is dark, half is light which may have signifigance to the idea of his change in character. The dark is symbolic of his decision to cut the throats of all of his customers in order to refine his skill until he can kill the judge. He justifies this as relieving the men of their struggles, that their deaths will be a relief, and that he will be ridding the town of scum and corruption through these murders.The light side of his face shows that the goodness in his character is still in him, although getting taken over by the dark side of his character as influenced by the corrupt actions of the judge.

Note: Red on Mrs Lovett's dress, heavy use of shadow and contrast between white and black

The focus on the two characters involved, and the dark black around them means that the viewer is to completely focus on their faces and the action of Mr Todd placing the knife under Mrs Lovett's neck. We can clearly see Mrs Lovett's red trim on her dress, which links to what I said previously, about the use of red throughout the film and the signifigance of this. (Sweeney does not actually cut her, but the red links back to the blood and the murderous nature of the story!) The dark shadow also helps to keep the image sharp; linking to the action and playing up the paleness of the character's skin.We are unable to directly see either Mrs Lovett's or Sweeney's eyes, the dark colouring and the heavy shadow preventing this. This is important as it shows an extreme vulnerability on their faces, especially when paired with their white visages and the white in Mr Todd's hair. Sweeney is wearing a washed out grey, which links back to the idea of using dark, cold colours in the opening sequence and throughout the film.

When we first see " poor Albert's" chair in the opening sequence, there is a flash of thunder and the lightning illuminates the chair. This is one example of a clever manipulation of lighting. The chair and the immediate area around it are lit in the white light, and could possibly have a colour filter/gel used as well; as the floorboards and the room have a soft blue/green tinge. This reinforces the idea of the decrepit and isolated room and helps to convey the feel of the room being glum and low-spirited, or having a negative feel. The use of these "cold" colours ( blue, green, black, brown and grey) in the room gives an impersonal feel, a detachment from the town. For example, Sweeney does not notice, perhaps, the beauty in the world at present as he sees the world in these overly dark colours. It could also be seen as him not noticing what is going on around him, other things are pushed into the background whilst he is so focused on getting his revenge. This relates also to his relationship with Mrs Lovett, which I will talk about in another part of my analysis.

A shot from Mrs Lovett's "By The Sea"

Mrs Lovett's fantasies and daydreams are about the future that she and Sweeney could have; and the idea seems far removed from what is possible, as it is simply so far from the reality of her situation, including her relationship with Sweeney. As we can see from the image below, Mrs Lovett imagines a surreal scene, "By the sea" that is vivid; with the use of bright blue, orange and red colours. The use of warm colours ( red,orange,pink, yellow) and soft neutrals such as a clean white or pristine black give the impression of a higher class or more money. She is wearing fashionable clothing and they appear to be of a higher class. The other background characters wear a clean white, so focus is placed on Mrs Lovett in her dramatic Victorian gown. She is basking in the sun and glory of having a life that she wants so badly, but the expression on Sweeney's face tells a different story. This does add humour to the scene, yet it is also tragic and sad because Mrs Lovett is imagining something so distorted from reality, and even in such a situation, Sweeney could not be happy or give her the attention and relationship that she deserves.The uplifting colours make it seem so ridiculous and out of reach for Mrs Lovett.