1:08
1:57
colored lights and SLOW MOTION - with DeNiro's eyes making it point-of-view
colored lights and SLOW MOTION
2:04
2:19
then overlap of smoke into first scene is really good - it's like this is a vision of hell from Travis' pov
overlap of smoke into first scene
4:18
4:39
***camera movement where he had to walk behind camera and then run ahead - that's a tricky one, isn't it - it's like he's not there, or like an odd sort of point-of-view
camera movement behind camera
4:42
5:00
then dissolve on same street as he walks - it's another day - like a jump cut, also now he's got that bottle
dissolve on same street as he walks
5:02
5:39
camera movement over to where he's writing (he's briefly visible in mirror) - probably 180 degree movement
camera movement over to where he's writing
10:19
10:40
first seeing Betsy - good montage - also slow motion - also look who's sitting there! Scorsese
first seeing Betsy
10:39
10:51
continue just a bit to show how we go to him writing the narration we are hearing - makes it more dreamlike and more his p-o-v - also see Scorsese at start!
continue just a bit
17:12
17:39
in on the alka selzer - good exaggerated p-o-v example - it's also a Godard quote - where it's a cup of coffee
in on the alka selzer
32:54
33:33
3 shot walking montage, third one is really long and weird slow motion, him in a suit (he's on his way to pick her up)
3 shot walking montage
37:58
38:59
**movement over to the empty hallway before he walks into it, then there's dead flowers for an entire shot! (this comes after a really long still shot of him on the phone to Betsy)
movement over to the empty hallway
41:20
41:32
can show start of Scorsese part "(see that light - see that light in the window")
start of Scorsese part
45:52
45:57
a lesser but still good shooting gesture
53:06
53:49
good loneliness diary stuff as we see slow-motion p-o-v, also him writing, then abrupt cut to him in street - lots of Scorsese style together
good loneliness diary stuff
58:08
58:35
** hand in the fire - like Mean Streets, shot of the guns, THE FIRING GESTURE (mention that Sport gets to do it too, and we also saw one of the cabbies)
hand in the fire
65:44
65:55
ONE OF THE "OTHER" MIRROR SHOTS - DON'T NEED TO SEE REST OF "YOU TALKING TO ME" SCENE - THE MOST FAMOUS OF SCORSESE MIRROR SHOT SCENES
ONE OF THE "OTHER" MIRROR SHOTS
102:39
105:36
LETS GO RIGHT TO BLOODY ENDING - the last of the great pistol shot things - and the overhead shot of the body and then the cops, and back down the stairs and out, past the guns too and other bodies, and out into the street (slow motion as well)
LETS GO RIGHT TO BLOODY ENDING
106:01
106:28
the sort of fake ending - don't have to see much - narration of Iris' father letter - I like the newspaper story on the wall - like storyboards!
the sort of fake ending
107:46
109:02
a little of the last ride with Betsy - just good how it's all reflections of her in the mirror - more like it's his dream (at least until she gets out) - don't see her get in - no direct shot in the cab - seems very correctly done
little of the last ride with Betsy