Our Preliminary Video:
Our Final Piece Video:
My Evaluation of our final piece:
Thursday 1 May 2014
Friday 18 April 2014
During Production
We have began production on our film, with the start of our filming. We have filmed the IRA meeting of our film in Casement Social Club, this location produces an old and authentic image which stays true to the time phase our film is set. We used realistic props such as, empty pint glasses, cigarettes and a gun. Also, our costumes are common for 1970s, this helps create the naturalistic scene and to allow the audience to emerge themselves in the time it is set in. The only problem we faced with the filming of this scene was availability of our actors, because of this we had to recast the film to suit the filming schedule. As we began to edit this piece of filming we found that there seems to be too much dialogue, therefore we have to cut the clips down to make the film flow better. Too much dialogue slows the film down which audiences will disengage with and find themselves uninterested in what is happening on screen, having quick shot changes from IRA to UDA will improve the suspense and the all round tempo of the film.
We now have began to film the UDA meeting section of our film. We have found challenges in filming this scene as we had originally planned to film this outside at night. This was a problem in terms of lighting and sound, as there is no natural light present we were using the flashlight from an iPhone 4 but it did not present enough light for the shot to taken, we then used a sensor spotlight to light this scene but this in itself proved problematic as it cast shadows, so people were not visible in the shot, we also needed someone bride the light to activate the sensor. At first we were using the flashlight from an iPhone 4 but it did not present enough light for the shot to taken, we then used a Also, the sound was a problem because the wind was blowing into the microphone which cancelled out any spoken dialogue. Therefore, we have had to refill this scene in its entirety to ensure the best possible film. As like the IRA scene the costumes and props used were realistic, with our finished film this should prove effective, capturing the times successfully with both mise en scene and lighting.
We now have began to film the UDA meeting section of our film. We have found challenges in filming this scene as we had originally planned to film this outside at night. This was a problem in terms of lighting and sound, as there is no natural light present we were using the flashlight from an iPhone 4 but it did not present enough light for the shot to taken, we then used a sensor spotlight to light this scene but this in itself proved problematic as it cast shadows, so people were not visible in the shot, we also needed someone bride the light to activate the sensor. At first we were using the flashlight from an iPhone 4 but it did not present enough light for the shot to taken, we then used a Also, the sound was a problem because the wind was blowing into the microphone which cancelled out any spoken dialogue. Therefore, we have had to refill this scene in its entirety to ensure the best possible film. As like the IRA scene the costumes and props used were realistic, with our finished film this should prove effective, capturing the times successfully with both mise en scene and lighting.
Wednesday 2 April 2014
Planning
Plot:
Our film is set in 1976, in Belfast, Northern Ireland. It follows the story of two families from different communities who lose loved ones in two separate sectarian attacks. These families are affected negatively by these events and become bitter against the other communities. Although these families are very different, in their culture and their way of life, they are very similar in the way they feel about the people of different religions who live in Northern Ireland. The brothers of the two dead men who were attacked, meet in an unusual situation after both leaving Belfast to find a better life for themselves in New York. They end up getting jobs together in a bar and become good friends before finding out they are from separate communities. They begin talking about their past and realise they were both affected by their brothers' killings on the same day, they realise that their history with Nothern Ireland could help reshape the future of it.
Location:
For the IRA meeting we thought the best location would be an old empty irish pub. We could film in casement social club because its decor and atmosphere that would be perfect for what we want for our movie.
For the UDA meeting we had an idea to just film this scene in a street alleyway as this would contrast completely with the other meeting, this is our aim. When filming we need to make sure no modern cars are in the shot because this would ruin our continuity of the film.
Mise en Scene:
Our mise en scene and props should be realistic and create a believable scene for the audience. The props we need are just guns, but if these do not look genuine our film won't get the audience response we are aiming for.
Lighting:
For the lighting of our film, we want a very dark and misty look. Using only natural or available light we can get this look on the film and this will give a realistic sense of the scene. Also as we are working on a very limited budget, using natural light is the ideal thing.
Filming of IRA meeting in Casement Social Club - Wednesday 20th March
Props - Guns
Empty Glasses
Actors - Sean Campbell
Ciaran McCourt
Spud McAllister
Filming of UDA meeting in Rathmore Grammar School - Friday 12th April
Props - Guns
Actors - Chris McIlvenny
Dan O'Hanlon
Christopher McLarnon
The IRA are having an important meeting in which they are about to discuss the killing of a senior UDA man. They are in a dark confined room, which is filled with smoke. The camera slowly moves along, showing each of the men, before anyone speaks.
MICK (IRA) - Right men this is it. No backin' out now do ye hear me?
The camera then moves slowly along the men, giving the viewer a good chance to see them all. It stops on Raymond at a close-up shot and he begins to speak.
RAYMOND (IRA) - Of course not Mick, iv been waitin' my whole life to get one of these fenian rats.
The men all begin to look very pumped up. They look at eachother reassuringly. There is then a close-up shot of Paddy and he says his line in anger.
PADDY (IRA) - So have I, this fella is gonna pay for what happened in Lurgan on Saturday.
Camera Switches to UDA meeting. They are sitting in a similar room, which is dark and misty. There are a few drinks placed on the table. They are discussing the revenge killing of a Catholic due to take place that night.
JACKIE (UDA) - Well said there James, the only sad thing about Lurgan is that they didn't kill more of the scumbags.
The camera turns to James who is looking fed up with the way the conversation is going. The camera focuses on him in an over-shoulder shot.
JAMES (UDA) - Right enough about that.. whats the plan for tonight?
Camera switches to IRA meeting. The dialogue is interlinking and the two groups are answering each others questions, showing how similar the men actually are - same morals, different beliefs. There is a close up shot on the IRA man then the camera begins to zoom out, adding a serious effect to the chilling statement he makes.
MICK (IRA) - We wanna take him out, but remember we are entering enemy territory tonight, so if we slip up we are dead.
The camera switches to Raymond who is looking slightly worried. It is a close-up shot. He trembles his words slightly.
RAYMOND (IRA) - I don't think its a good idea going to his home.. what if..
The camera switches back to Mick who is looking quite annoyed and serious! He speaks in a firm tone! Once again, this is a close-up shot.
MICK (IRA) - Listen Raymond, theres no time to be freakin' out, your either in or your out! Now what is it??
The camera switches back again to UDA meeting. All the men are looking at Sammy awaiting his answer. The camera glances along them briefly before focusing on him in an over shoulder shot.
SAMMY (UDA) - You've known me long enough to know i wouldn't back out from anything, do you think i'm scared of the taigs?
The camera turns to Jackie who is looking quite reassured. It is a mid-shot, which shows him and all the others too.
JACKIE (UDA) - Right thats good, just needed to make sure I have everyones word that they're going through with this. Theres too many eejits about these days saying there gonna do this and that.
The camera turns to Sammy who is nodding his head. It is a close-up shot.
SAMMY (UDA) - Too right Jackie, all talk no action.
The camera switches to IRA meeting. The camera is focused on Paddy as he nervously asks a question. It is a close-up shot.
PADDY (IRA) - This may sound like a stupid question but.. whos gonna pull the trigger?
The camera then switches swiftly to Mick, who does not look amused at the 'stupid question'. It is a mid-shot which slowly zooms into a close-up throughout the line.
MICK (IRA) - Your right, it is a stupid question, whoever needs to, when the opportunity arrives.. take it. Hopefully its me though (laughs).
The camera switches again to UDA meeting. They are all laughing. The camera focuses on James as he says his line. It is an over-shoulder shot.
JAMES (UDA) - Id be more than happy to pull the trigger on one of them vermin scum.
The camera turns to Jackie who has stopped laughing and has a serious look on his face. It is a close-up shot of him. The smoke of a cigarette is blowing infront of the camera.
JACKIE (UDA) - Lets not get carried away.. we have a job to do!
The camera slowly glances among the men which shows them sitting up straight, and wiping away their laughter as they become serious. It then stops at Sammy who begins to speak, this is a mid-shot.
SAMMY (UDA) - If we are sticking to the plan then the attack is supposed to be carried out in just over an hour. So we may get the show on the road.
The camera switches to IRA meeting. They are all looking very pumped up. They begin to finish their drinks. There is a medium shot which zooms into a close-up when Paddy begins to speak.
PADDY (IRA) - Happy days! Im ready when you are, lets do this!!
The camera turns to Mick. It is a medium shot and he is looking round the table at all the men. He then begins to look at each man as he tells them their role. He speaks firmly and confidently throughout.
MICK (IRA) - Right we've been through it before but just so yous are all sure.. Paddy your behind the wheel tonight, Raymond will be keepin' dick on each side of the house.. and ill break in and shoot him dead. But listen fellas, if anything was to kick off or something goes wrong, don't hesitate to shoot. Its either kill or be killed in these circumstances.
The camera turns to Raymond who is nodding his head in agreement with Mick. It is an over-shoulder shot.
RAYMOND (IRA) - Micks right, ya' can't take no chances.
The camera switches to UDA meeting. Jackie is talking very confidently with a serious tone, showing his authority. It is a close-up shot which zooms out slowly.
JACKIE (UDA) - Yes, just be careful though, and no women or kids. The UDAs under enough scrutiny at the minute.
The camera turns to James who looks at Jackie then to the rest of the men. It is an over-shoulder shot. He speaks in a serious tone.
JAMES (UDA) - You have our word Jackie. No women or kids.
The camera switches back to IRA meeting. Mick is now speaking quicker, in a more ecstatic tone. It is a medium shot. He finishes his drink then slams it down on the table.
MICK (IRA) - Right in that case, we are ready to go. Raymond get four handguns and one automatic from the stash and bring them to the car.
Raymond gets up to walk out then stops and says his line. It is a medium shot which begins to zoom into a close-up. He sounds quite sentimental and almost like he is having second thoughts about it.
RAYMOND (IRA) - Alright will do. I just hope this cause we're fightin' for is worth it.
The camera switches back to UDA meeting. There is a close-up shot of Jackie. He puts out a cigarette then begins to speak. He once again speaks in a firm confident tone to raise the moods in the room.
JACKIE (UDA) - Nows not the time to get sentimental. Keep your head screwed on would ye... right its time, lets go.
The camera for the final time switches back to IRA meeting. There is a close-up shot of Mick who looks at Paddy and nods. He seems quite excitement but also nervous as they are about to embark on their task.
Ciaran (IRA) - Your right Paddy we don't wanna be late. Lets go boys. Oh and remember, shoot to kill. Leave no casualties, casualties are witnesses, and witnesses are jail sentences.
Members of the two groups get up and begin to change into paramilitary gear - they put on balaclavas, army jackets/black coats, and gloves. They then exit the room.
Location:
For the IRA meeting we thought the best location would be an old empty irish pub. We could film in casement social club because its decor and atmosphere that would be perfect for what we want for our movie.
For the UDA meeting we had an idea to just film this scene in a street alleyway as this would contrast completely with the other meeting, this is our aim. When filming we need to make sure no modern cars are in the shot because this would ruin our continuity of the film.
The location for the appearance of the victim of the attack by the IRA is George Best city airport, as he comes off a flight and walks out of the airport and into a black taxi. We hope to film this when the airport is busy to give our scene a realistic and genuine look. We will then film the black taxi journey from inside the taxi.
Costume:
With costume we want all of our actors to wear clothes that represent both their low social class and their communities. To do this we want realistic old clothes to give a believable feel to our film. This would include very simple costumes with leather jackets, jumpers, shirts and jeans. To gather costumes we used both our own clothes and also some costumes were rented from the drama department in school.
Our mise en scene and props should be realistic and create a believable scene for the audience. The props we need are just guns, but if these do not look genuine our film won't get the audience response we are aiming for.
Lighting:
For the lighting of our film, we want a very dark and misty look. Using only natural or available light we can get this look on the film and this will give a realistic sense of the scene. Also as we are working on a very limited budget, using natural light is the ideal thing.
Filming of IRA meeting in Casement Social Club - Wednesday 20th March
Props - Guns
Empty Glasses
Actors - Sean Campbell
Ciaran McCourt
Spud McAllister
Filming of UDA meeting in Rathmore Grammar School - Friday 12th April
Props - Guns
Actors - Chris McIlvenny
Dan O'Hanlon
Christopher McLarnon
The IRA are having an important meeting in which they are about to discuss the killing of a senior UDA man. They are in a dark confined room, which is filled with smoke. The camera slowly moves along, showing each of the men, before anyone speaks.
MICK (IRA) - Right men this is it. No backin' out now do ye hear me?
The camera then moves slowly along the men, giving the viewer a good chance to see them all. It stops on Raymond at a close-up shot and he begins to speak.
RAYMOND (IRA) - Of course not Mick, iv been waitin' my whole life to get one of these fenian rats.
The men all begin to look very pumped up. They look at eachother reassuringly. There is then a close-up shot of Paddy and he says his line in anger.
PADDY (IRA) - So have I, this fella is gonna pay for what happened in Lurgan on Saturday.
Camera Switches to UDA meeting. They are sitting in a similar room, which is dark and misty. There are a few drinks placed on the table. They are discussing the revenge killing of a Catholic due to take place that night.
JACKIE (UDA) - Well said there James, the only sad thing about Lurgan is that they didn't kill more of the scumbags.
The camera turns to James who is looking fed up with the way the conversation is going. The camera focuses on him in an over-shoulder shot.
JAMES (UDA) - Right enough about that.. whats the plan for tonight?
Camera switches to IRA meeting. The dialogue is interlinking and the two groups are answering each others questions, showing how similar the men actually are - same morals, different beliefs. There is a close up shot on the IRA man then the camera begins to zoom out, adding a serious effect to the chilling statement he makes.
MICK (IRA) - We wanna take him out, but remember we are entering enemy territory tonight, so if we slip up we are dead.
The camera switches to Raymond who is looking slightly worried. It is a close-up shot. He trembles his words slightly.
RAYMOND (IRA) - I don't think its a good idea going to his home.. what if..
The camera switches back to Mick who is looking quite annoyed and serious! He speaks in a firm tone! Once again, this is a close-up shot.
MICK (IRA) - Listen Raymond, theres no time to be freakin' out, your either in or your out! Now what is it??
The camera switches back again to UDA meeting. All the men are looking at Sammy awaiting his answer. The camera glances along them briefly before focusing on him in an over shoulder shot.
SAMMY (UDA) - You've known me long enough to know i wouldn't back out from anything, do you think i'm scared of the taigs?
The camera turns to Jackie who is looking quite reassured. It is a mid-shot, which shows him and all the others too.
JACKIE (UDA) - Right thats good, just needed to make sure I have everyones word that they're going through with this. Theres too many eejits about these days saying there gonna do this and that.
The camera turns to Sammy who is nodding his head. It is a close-up shot.
SAMMY (UDA) - Too right Jackie, all talk no action.
The camera switches to IRA meeting. The camera is focused on Paddy as he nervously asks a question. It is a close-up shot.
PADDY (IRA) - This may sound like a stupid question but.. whos gonna pull the trigger?
The camera then switches swiftly to Mick, who does not look amused at the 'stupid question'. It is a mid-shot which slowly zooms into a close-up throughout the line.
MICK (IRA) - Your right, it is a stupid question, whoever needs to, when the opportunity arrives.. take it. Hopefully its me though (laughs).
The camera switches again to UDA meeting. They are all laughing. The camera focuses on James as he says his line. It is an over-shoulder shot.
JAMES (UDA) - Id be more than happy to pull the trigger on one of them vermin scum.
The camera turns to Jackie who has stopped laughing and has a serious look on his face. It is a close-up shot of him. The smoke of a cigarette is blowing infront of the camera.
JACKIE (UDA) - Lets not get carried away.. we have a job to do!
The camera slowly glances among the men which shows them sitting up straight, and wiping away their laughter as they become serious. It then stops at Sammy who begins to speak, this is a mid-shot.
SAMMY (UDA) - If we are sticking to the plan then the attack is supposed to be carried out in just over an hour. So we may get the show on the road.
The camera switches to IRA meeting. They are all looking very pumped up. They begin to finish their drinks. There is a medium shot which zooms into a close-up when Paddy begins to speak.
PADDY (IRA) - Happy days! Im ready when you are, lets do this!!
The camera turns to Mick. It is a medium shot and he is looking round the table at all the men. He then begins to look at each man as he tells them their role. He speaks firmly and confidently throughout.
MICK (IRA) - Right we've been through it before but just so yous are all sure.. Paddy your behind the wheel tonight, Raymond will be keepin' dick on each side of the house.. and ill break in and shoot him dead. But listen fellas, if anything was to kick off or something goes wrong, don't hesitate to shoot. Its either kill or be killed in these circumstances.
The camera turns to Raymond who is nodding his head in agreement with Mick. It is an over-shoulder shot.
RAYMOND (IRA) - Micks right, ya' can't take no chances.
The camera switches to UDA meeting. Jackie is talking very confidently with a serious tone, showing his authority. It is a close-up shot which zooms out slowly.
JACKIE (UDA) - Yes, just be careful though, and no women or kids. The UDAs under enough scrutiny at the minute.
The camera turns to James who looks at Jackie then to the rest of the men. It is an over-shoulder shot. He speaks in a serious tone.
JAMES (UDA) - You have our word Jackie. No women or kids.
The camera switches back to IRA meeting. Mick is now speaking quicker, in a more ecstatic tone. It is a medium shot. He finishes his drink then slams it down on the table.
MICK (IRA) - Right in that case, we are ready to go. Raymond get four handguns and one automatic from the stash and bring them to the car.
Raymond gets up to walk out then stops and says his line. It is a medium shot which begins to zoom into a close-up. He sounds quite sentimental and almost like he is having second thoughts about it.
RAYMOND (IRA) - Alright will do. I just hope this cause we're fightin' for is worth it.
The camera switches back to UDA meeting. There is a close-up shot of Jackie. He puts out a cigarette then begins to speak. He once again speaks in a firm confident tone to raise the moods in the room.
JACKIE (UDA) - Nows not the time to get sentimental. Keep your head screwed on would ye... right its time, lets go.
The camera for the final time switches back to IRA meeting. There is a close-up shot of Mick who looks at Paddy and nods. He seems quite excitement but also nervous as they are about to embark on their task.
Ciaran (IRA) - Your right Paddy we don't wanna be late. Lets go boys. Oh and remember, shoot to kill. Leave no casualties, casualties are witnesses, and witnesses are jail sentences.
Members of the two groups get up and begin to change into paramilitary gear - they put on balaclavas, army jackets/black coats, and gloves. They then exit the room.
Sunday 30 March 2014
Main Task - Research Part 5
During our research we watched a film called, "Some Mother's Son" it is set in the same time frame as our film is, therefore it is beneficial to us to watch this movie. It follows the story of the hunger strikers of 1981 in the maze prison in Northern Ireland. The mise en scene in this film is extremely effective as it brings a realistic and believable view on Northern Ireland during the troubles of the 1970/80s.
The lighting and editing of this film gives it a look of grunge on it, representing the poverty and turmoil conflict has caused in Ireland. We hope to use the same effects in our film to recreate the look to portray the despair caused by the actions of the people in our film. The titles in this film are simplistic and subtle as they are just text on the screen without any attention being made to it. We plan to have very simple titles in our film, we hope them to not take away from what is actually happening in the movie, therefore they will hopefully just be in the bottom corner of some shots.
The lighting and editing of this film gives it a look of grunge on it, representing the poverty and turmoil conflict has caused in Ireland. We hope to use the same effects in our film to recreate the look to portray the despair caused by the actions of the people in our film. The titles in this film are simplistic and subtle as they are just text on the screen without any attention being made to it. We plan to have very simple titles in our film, we hope them to not take away from what is actually happening in the movie, therefore they will hopefully just be in the bottom corner of some shots.
Friday 28 March 2014
Main Task - Research Part 4
Anther film we have watched to gain some ideas for our main piece is mickybo & me. This film is set in Belfast at the time of the troubles. Although the actual groups that our film is based around do not feature in this movie, the mise en scene, lighting and locations would be perfect for our film. The titles also, at the start of the movie are what we hope to use for our film. The simplistic titles do not take away from the action that is happening on the screen, we aim to make this similar in our main task.
This film is very naturalistic and there is rarely artificial lighting. The majority of the film is set outside, and as some of our shots will be filmed outside we aim to control the lighting using final cut pro and to ensure there is no glare from the sun in any of our shots. The costume in this film, is very close to the time in which it is set. We hoped to get some ideas as to how to dress our actors to make our film, and which props would be authentic to the time. Though watching this film we also noticed there is a filter effect on the shots, this makes the movie look old and gives it a grimy and glum look, to portray the poverty and the effect of war on working-class people in Belfast.
This film is very naturalistic and there is rarely artificial lighting. The majority of the film is set outside, and as some of our shots will be filmed outside we aim to control the lighting using final cut pro and to ensure there is no glare from the sun in any of our shots. The costume in this film, is very close to the time in which it is set. We hoped to get some ideas as to how to dress our actors to make our film, and which props would be authentic to the time. Though watching this film we also noticed there is a filter effect on the shots, this makes the movie look old and gives it a grimy and glum look, to portray the poverty and the effect of war on working-class people in Belfast.
Saturday 22 March 2014
Main Task - Research Part 3
Anther film which we want to base our project on is 'Michael Collins'. This film is about Irelands fight for independence and the easter rising in 1916. The film has a scene in which the IRA meet to discuss an attack on a police barracks to take weapons. The scene takes place in a small dark room, it is a secret meeting between the men.
The meeting happens at 4:23 in this clip. This film shows Ireland in a good way as it portrays the people's bravery and that their fight for freedom from British rule was an inspiring mission. The shots in this scene seem to focus directly at the main speaker of the meeting. This is how we plan to have our film with the portrayal of the importance of the leaders of the gangs. Although this film is set in 1916, the mise en scene of it, is a effective and very real in its reflection of the time it is set. We hope to ensure the mise en scene of our film brings a realistic and genuine look to the film.
The meeting happens at 4:23 in this clip. This film shows Ireland in a good way as it portrays the people's bravery and that their fight for freedom from British rule was an inspiring mission. The shots in this scene seem to focus directly at the main speaker of the meeting. This is how we plan to have our film with the portrayal of the importance of the leaders of the gangs. Although this film is set in 1916, the mise en scene of it, is a effective and very real in its reflection of the time it is set. We hope to ensure the mise en scene of our film brings a realistic and genuine look to the film.
Saturday 15 March 2014
Main Task - Research Part 2
Another film which is based on the troubles of Northern Ireland in the 1970s and 1980s is Five Minutes of Heaven. This film has a meeting of UVF members arranging to kill a young catholic man. This meeting is useful for us as it shows that some groups don't think about the severity of their actions as they laugh and joke about how their reputations will improve with this killing, but others in the group feel worried about this plan. The camera in most of these gang meeting scenes always shows a close up of one member of the group looking frightened or seems to want to not conform to the gangs plan.
In this clip, the gang meet in a car to discuss killing a young man that they are all familiar with. This film reflects just a small bit of the troubles in Northern Ireland at this time, yet it still portrays the country as one that is still violent and hasn't moved on. In this film the two main characters represent the loyalist and republican communities and when the man who's brother was killed by the UVF, threatens to kill the man who killed him, the bitterness and hatred is evident and represents the current feeling around Northern Ireland. This is a very derogatory way to show the country.
The mise en scene for this film, when there are flashbacks to the times of the troubles, the location is perfect as it is clear that Belfast is a violent city. The costumes used in this film are exactly what we would use for our film as they represent the poverty in Northern Ireland in the 1970s and the hate that is in the group of young men's hearts. The props were also very authentic to the time the film is set, the cars and guns.
The lighting is mostly artificial as the flashback scenes are set at night. The darkness of these scenes gives the audience a sense of danger and suspense, the type of feeling we would aim to have for our film. The camera shots in this film are effective in that, when peace is being made, after the troubles, the shots are steady and seem to focus highly on facial expressions of the characters. But when danger is ahead or there is violence happening, the shots seem to be frantic and ever-changing to replicate the madness and unnatural effect of this conflict.
In this clip, the gang meet in a car to discuss killing a young man that they are all familiar with. This film reflects just a small bit of the troubles in Northern Ireland at this time, yet it still portrays the country as one that is still violent and hasn't moved on. In this film the two main characters represent the loyalist and republican communities and when the man who's brother was killed by the UVF, threatens to kill the man who killed him, the bitterness and hatred is evident and represents the current feeling around Northern Ireland. This is a very derogatory way to show the country.
The mise en scene for this film, when there are flashbacks to the times of the troubles, the location is perfect as it is clear that Belfast is a violent city. The costumes used in this film are exactly what we would use for our film as they represent the poverty in Northern Ireland in the 1970s and the hate that is in the group of young men's hearts. The props were also very authentic to the time the film is set, the cars and guns.
The lighting is mostly artificial as the flashback scenes are set at night. The darkness of these scenes gives the audience a sense of danger and suspense, the type of feeling we would aim to have for our film. The camera shots in this film are effective in that, when peace is being made, after the troubles, the shots are steady and seem to focus highly on facial expressions of the characters. But when danger is ahead or there is violence happening, the shots seem to be frantic and ever-changing to replicate the madness and unnatural effect of this conflict.
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