Act 1 Scene 2 Gcse Script For Moving A Train

The driver doesn’t stop. I start bawling, thinking about how I am probably going to miss homecoming and my boyfriend is totally going to break up with me. Just then is when I am reminded of all the rumors, they must be true. I start screaming hysterically, praying that passing cars might notice. My throat went dry as I lost my voice and lost my hope of escaping. Finally, I get a reaction out of her, but not the one I was hoping for.

The musical numbers stop playing like clockwork, and the main characters are no longer singing the film's central song, "City of Stars", a piece about the city as well as the dreamers who reside in it. It is in the film's third act that you stop focusing so much on the songs, and begin to realize the majesty of Justin Hurwitz' score. The film comes together and puts all of the pieces together at the time of its conclusion, and ends with a lengthy prologue, the most emotional and bittersweet ending sequence of a film in recent memory.

Additionally, Teague applied these alterations to his film to increase the level of suspense in his version. A difference between the short story and the film was Donna was outside the car when Cujo came during the movie, while in the film, Donna and her son were already inside the car. The text states, “She reached the front of the hood and started to cross in front of the Pinto…” Since Donna was outside the safety of her car in the story but not the movie, it decreased the amount of suspense in the film because Teague does not reveal what's about to happen next. At any moment anything could happen to Donna outside the car, but when pictured inside the car it relieves a bit of tension and lowers the suspense.While outside the safety of her car in the movie, it helped feel what Donna was going through in the story. However, because the film doesn't have Donna start off outside the car, it cannot provide important examples of the actions Donna did because she was so scared. For example, as explained in the text, Donna wets herself because she was face to face with Cujo and got so frightened. This helps develop Donas character because it shows that she fears the dog. Another difference between the story and the film was when Cujo came after Tad instead of Donna in the film. Cujo came after Donna in the story because he was chasing

Alma spots a doll through the store's window that perfectly matches her appearance. At this point, the music falls silent. As the youthful child observes the doll, the rhythm develops an eerie tune. Alma attempts to open the door, but fails; nevertheless, as she turns away in frustration, the door appears to unlock

“Finally, we are here! This trip felt like a Roller Coaster line on a Friday night!” Gabby said to her grandfather while she was unloading herself out of the rickety truck.

Then it is like time slows time once the camera has come near the door and you can hear music in the background which slowly starts getting louder and louder. The scene changes again showing people dancing and having a good time.

A slow crescendo is lead by the strings and low brass play a phrase with very low pitches in small intervals, creating a dark tone. The choir sustains a minor chord overtop this. This section of the music is getting heavier due to large amounts of lower voice instrumentation. The snare drum then plays a rhythm comprised of sixteenth notes, which resembles a typical march line. The melody is later carried by the double basses and the cellos. After a few bars, the boy soprano sings the main melody of the piece while the violins play a very frantic run using scales ascending and descending at random scale degrees. The short durations in contrast with the sustained notes create a very interesting effect on the mood. The melody shifts over to the violins who play a connected series of held notes in the higher register of the instrument. The chord is built up slowly as more instruments gradually make subtle entrances. When brass join, the section continues to build up, and is being pushed forwards. The trumpets then play repeated eighth notes underneath. The dynamic is building up and is very close to reaching a climax until a sforzando, transitioning to the final melody from the boy

The video is separated into three acts to distinguish each song, and we are greeted to a curtain, mimicking a nostalgic time, presenting the credits beforehand. Following the rise of the curtain, the playful scenery presents .Paak in an animated bed prepping for a

“Ugh, can one of these people stop honking and give us a ride.” Raina shuffled her purse, it was starting to weigh her down. They heard another honk, an old blue bronco came to a stop in front of them.

We then get a close up on the car and a diegetic sound of a car passing by. Next we are brought into the car. We get the backseat point of view. We see two heads, windshield-wipers moving very fast, and a few cars passing in the opposite direction. The darkness, the weather, and the mysterious characters gave me a sense of

Renee: (sighs) "The reason I called is because...Bella, I wanted to finish our conversation from when I was down the last time."

I have chosen not to have any music during this scene, as I want the

A flash of protagonist, Rocket’s (Alexandre Rodrigues) camera opens the film. Sweeping shots of sharpening knives

By using panning it exhibits setting, important props to the scene, and detail. One reoccurring theme Scorsese displayed in his film was jazz music. After most important scenes a specific jazz melody would play to tie all the events in the film together. For instance, after Travis had drank coffee with Betsy the jazz music would play. The jazz rendition would also play in the background while he narrates the story. Although the main importance of inserting the jazz music after most scenes and in the background during narration, Scorsese also added the music for dramatic effect. As Travis left the prostitutes home he saw her pimp walking towards him from a dark hallway. The jazz music suddenly became more dark and frightening implying that he was the “bad guy” in the situation. The reoccurring theme of the jazz rendition was a significant film aspect that both tied the events of the film together and proposed a change in tone of the film.

The first scene to be analysed is the first dream the audience experiences lasting from 0:02:48 and until 0:04:26.