Visual Evidence Monologue

f view. In the real version however, as soon as the audio starts you are placed in a perspective, the first thing you hear is a conversation from street level so even though the long lens is fixed on Eric Bana you know the moment is taking place on the ground. Then to further drive the point home audience hears Daniel Craig singing. The vocal recording itself is close, intimate, even though camera, and by extension you, never go inside the car, that is more than enough to put you there. Then the car that you’re really supposed to pay attention to, the black one, parks and the sound of it parking jumps out and mechs. Just like the audience wouldn't hear Daniel Craig that way from where the camera and supposed recorder is, you wouldn't hear the

The phone rings due to the fact that the assassins didn't notice the daughter come back and due to the overwhelming interference of noise and it continues ringing until a character picks it up. But instead of the target the assassin who was dialing the phone hears a little girl’s voice and the whole world it seems goes array, the sound starts intertwining and winding up, whilst at the same time eliminating almost deafening sound that somewhat resembles ringing tinnitus patients experience in the absence of sound. The climax of this scene brilliantly is silence, but its a type of silence that works so well because it anticipates the noise, of the explosion to come, explosion not only in a straight up meaning, but also an explosion, a bust to the plans of the team of the assassins. All the while camera focuses on two of the attempted murderers who realise that the plan was compromised, one being the man who was calling and the other realising daughter’s car came back, try to run to the position of the primer and abort the plan. At the point where these two man reach their intended destination the ambience has become really impressionistic and when it comes back in it has echo and reverb. Its hurried footsteps in an anxious siren, the whole sound universe corresponds in a personal to the assassins to their feelings and their nerves so it makes sense that when the final question is asked its the sound design that answers the question “Are we on or