directed by: Paul Greengrass


IMDB link:

Submitted by Charley Leary on 2007-09-12


Step: Vertical resolution: Height:
Degree of the trendline: Moving average :

Users' comments:

Author: Charley Leary Date: 2007-09-12

Note Greek Cross

The Bourne Ultimatum does seem faster (Bordwell has clocked ASL at 2.0 on his website).

One reason the films move so fast - editing pace and camera movement - is because the films are made for one ideal spectator, with enhanced, trained powers of perception: Bourne.

Author: Matt Hauske Date: 2007-09-17

This graph looks reminds me of Ozu\'s silent films, but obviously with a faster ASL and a lot more shots, and a more dramatic drop at the end. Like Ozu\'s films, this one seems to consist mainly of groups of quickly-cut scenes (not only fights and chases but, I assume, exchanges of dialogue between, say, Joan Allen and Brian Cox) punctuated by longer takes, presumably where Bourne rests or takes a moment to survey the damage? I wonder what it would look like if measured using advanced mode with a consideration of the different types of spaces, like areas occupied by Bourne vs. everywhere else.

I love these movies, by the way, and I assume you\'ve been following Bordwell\'s blogs about them, which I find interesting if sometimes confusing or one-sided.

Author: Charley Leary Date: 2007-09-18

The most rapid sequence of shots are Bourne's drama/memories, which consist of only fragments (also quite fast are the shots of Bourne's notebook). If I recall correctly one of the scenes of longer ASL comes at the end, with the exchange between Bourne and Joan Allen - the scene which is shown again in THE ULTIMATUM, but there intercut with Bourne scoping out the CIA building and Joan Allen's neighboring office.

Author: Charley Leary Date: 2007-09-19

I see the similarity with Ozu - particularly THE STORY OF FLOATING WEEDS (and FLOATING WEEDS also) - at trendline degree 6.

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