The scene opens with a close up of what seems to be our protagonist, in a deprived state eating some sort of food, then it swiftly cuts to what seems to be the antagonist in this situation. The use of the exact same close up for both characters is effective as it creates enigma codes for the audience as they begin to ask why the protagonist was in that state in the first place and what connection the man in the second shot has to him.
The over-the-shoulder shot of the protagonist from the antagonist angle may have been chosen to show that they are in a conversation with one another and it allows the audience to make a connection between the first shot and now. However, it does go on to create further questions as into why he is in this situation and looks different. Nolan has used this opening sequence to not only set the plot but to deepen the plot through creating a large amount of enigma codes.
Using medium close ups throughout the conversation and cutting constantly between all three characters allows there to be a flow in the conversation. However, one thing that you can notice is that when there is a medium close up on the antagonist the camera movement is almost like a handheld one as there is a little bit of shake or zoom whereas with our two protagonists is a still medium close up shot. This may have been done to show us who has the upper hand in the conversation as it seems like the protagonists are trying to sell something or convince the antagonist of something. Another use of cinematography that the director uses to heighten the conversation is the use of the over-the-shoulder shot. It seems to only be used on behalf of the antagonist and when the protagonists are talking to him, this further highlights to the audience that the protagonists are almost against this character and are trying to get something across to him.
Towards the end of the conversation there is a lot of over-the-shoulder shots from the antagonist’s angle as it seems like the conversation is breaking down. As well as this the over-the-shoulder is no longer still but it begins to track the character it is focused on. Furthermore, the director begins to use handhelds on all the medium close ups till eventually the antagonist leaves the room. All of this was done to convey the idea that the conversation was breaking down towards the audience.
As the two protagonists are walking along the balcony and conversing the use of the over-shoulder-shots and eye-line between the two is convenient for the audience. But one of the protagonists points out that there is one of their love interests across the way and we can see from the camera that they are looking at something, this then makes the audience expect to see a shot of the love interest. However, the director does the opposite of this and has medium shot of the protagonist walking towards her. This is effective as it allows the audience to ask questions and creates enigma.
When the protagonist and the love interest talk to one another there is an abundance of close ups and they are all constantly zooming in. This may be used to show their relationship for one another and how it is rapid and confusing and the use of these camera angles conveys this to the audience. The rapid cut into the bedroom and the audience seeing what the protagonist is doing raises a lot questions once again for the audience and when the protagonist starts to hang out of the window the camera angles are either tilt shots of crane shots but from someone viewing the protagonist perspective. This makes it more immersive for the audience as they feel like they are in the environment with the character.
In the scenes that contain action there is a significantly larger use of Steadicam and tracking shots. This may be done to show how spontaneity and constant the situation is and uncontrollable and to also add a flow to the scenes and make it more enjoyable for the audience.
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