The departed cinematography

The departed cinematography

This strategy is used most heavily at the beginning when Scorsese wants to keep distance between the audience and Nicholson. He possesses a very stylized method of filmmaking that defines his position at the top of the list of prominent directors. These utilizations of music compel the film from frame to frame and allow the movie space to continue moving. Ballhaus brings this same style to The Departed. Because dialogue dominates entire scenes it is important that background sound is spot on. First and foremost this film is loaded with close-ups. He was a lovely human being, and he always had a warm smile for even the toughest situations—anyone who knew him will remember his smile. A few things stand out about the score of this film, repetition of songs and the way that the music drives the film. Different lighting is employed to emphasize characters and their moods.

The camera movement in the film is extensive. Often times the film moves inside of itself. He was very hard on me and he was very pushy. In action sequences the volume is boosted. Scorsese employs a rough grain to this opening sequence as to give it a more aged look.

Sullivan is also assigned to find the mole inside of the Police force. Scorsese tends to brilliantly weave his cinematography and sound to progress his characters and themes, and he does so in this film.

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The soundtrack is important to the film, and often times it is the driving force behind it. Scorsese is one of the most respected directors in Hollywood. As the film progresses he moves to a finer grain for his images. Lighting is very important in the way that Scorsese uses it to build the characters of Damon and DiCaprio.

In nearly every scene in the Boston bars, Scorsese allows shadows to determine the mood.

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