Magnificent seven

Japanese filmmaker Akira Kurosawa's The Seven Samurai (1954) is westernized as The Magnificent Seven. As its unforgettable theme music plays, in the back ground there are gun slinging shadows that are depicted over a red background which tells you what the movie is going to depict. though jam-packed with action, the magnificent seven's screenplay pauses long enough to flesh out each of its characters, allowing the audience to pick their own favorites.the different settings show the life of a gun slinging cowboy. the sounds of gun shots and the sound of exaggeration when people die brings a different affect to this movie. although at the end of the movie when the vilin dies his blood is really red and favors ketchup which brings a cheesy affect to the movie.during the movie each character has a certain style about them wich comes out in there fighting style or shooting style. the character that specializes with knifes dresses has a different attitude than the rest. also the state of the mexican ton shows how helpless the mexicans are.

YOJIMBO

Sanjuro's appearance in town stands as one of the greatest introductions of setting of all time, the town is given life in a brief sequence that allows the entire film to benefit from it's evocative beauty. The town is empty, yet through a series of dutch angles and long shots, Kurosawa is able to establish a permeating tension that ripples throughout the town. As Sanjuro approaches, townsfolk peer from behind shudders and wooden columns, paralyzed with fear. Though this fear is without known cause, we are soon illuminated to the nature of it; a dog appears, running through town with a severed hand hanging from it's mouth. Sanjuro's reaction is almost imperceptible, yet the dimensional quality of Sanjuro is portrayed as a man who possesses such intelligence as well as such physical ability in his use of subtle mannerisms which betray his true intentions. The dog continues along its way, and Sanjuro meets his central connection to the violence ravaged town in Gonji, the tavern keeper.
Among Kurosawa's previous efforts within the samurai genre , Yojimbo is remarkable for it's restrained focus, it opens on a shot of Sanjuro from behind, and remains stuck to him through to the end of the picture. The few scenes which take place in his absence are used strictly to reveal events which he earlier had set in motion. While on screen he oscillates between a deadly ferocity and serene contemplation, steadily taciturn and unwilling to compromise, both as an actor as well as a catalyst for the plot. The opening shot of Sanjuro looking over the mountainside serves to establish the proximity the entire film will take to him; he will never be far from the camera's view.

i went to st.johns this weekend and had some fun

Prom is near and i got to get the other ear pierced to look right no homo

I AM LEGEND CINEMATOGRAPHY

THE BEST CINEMATOGRAPHY EVER IS IN THE MOVIE I AM LEGEND. THE MAN RESPONSIBLE FOR THAT IS ANDREW LESNIE.

GRad Bash was on point !!!!! now back to regular school /:(

Grad bash comin up!!!!!!!!!