Motel shoot out

• As he lies awake the BEV push in of Moss ‘there just ain’t no way’ with a red light shining on his face shows his realisation that there must be a tracker in the money.
• The push in helps create tension as the fear of what is around the corner approaches.
• Wide LA of silhouette Moss, profile shot, door crack lit = what is out there?
• LA shot revealing the POV of money as Moss searches through it, rapid cuts back and forth reflect his desperation and immediate panic then slows down when Moss finds the tracker – that ‘uh oh’ moment.
• Slow push in on the tracker, reaction shot is also a slow push in to an ECU of moss, reacting the thud hear downstairs.
• His slow movements reflect the immense tension of this scene: his life is on the line.
• Heightens the tension now that the audience know this.
•  Only diegetic sound – Coen brothers ‘removing the safety net of a soundtrack’.
• Once we hear the diegetic thud from downstairs (stantons 2+2 theory) and the distant beeping coming from down the hall the fear settles in as Moss and the audience prepare for the western showdown.
• The camera never cut to outside the room = causes imagination to run and allowing the door to act as barrier between moss and the outside, the unknown.
• Scene is subjective to Moss
• The subtle sound design causes the audience to sit on the edge of their seats and wait for the explosion, it intensifies all noises made.
• The tension is built around sound, the Coen brothers are inviting the audience to hold their breath – fearing to make a noise.
• Dramatic irony - we know more about C than Moss, making his every move feel incorrect and the audience feels tension as he clicks/ prepares the gun: knowing Chigurh would have heard it.
• He already knows that Anton is hot on his tail, but he, along with the viewer, doesn’t know how close the hitman is
• The pacing slows down as we wait for someone to pull the trigger first: Chigurh footsteps heard and then seen through the the crack in the door.
• The camera cuts back and forth between Moss and the door until the audience is aching for a release of this tension: it arrives with being plunged into darkness.
• The showdown starts as the camera pans up to the light on the door handle ( that has become a motif of Chigurh violence), and it is blown out: his entrance.
• The release initiates the cat and mouse chase, a series of shots tracking Moss's movements, slowing down when Chigurh is absent from screen but speeding up with his attacking gunshots.
• The stillness of the camera helps accomplish this well-paced action scene as it waits for the actors to meet their marks near the camera.
• The audience believes one man must die before the scene ends.
• The sound design of this scene is unlike any traditional fight scene. It’s quiet and meticulously crafted. Each sound shocks us.  A lot can be said when characters say nothing to each other, and, instead, choose to dance a well-choreographed battle of wits. 
•  Llewelyn knows he will die if he can’t outrun Anton, and Anton wants to finish his job. It's a simple understanding that doesn’t need to be established through a conversation. 
• The street lamps illuminate the room enough in the darkness that we can see the key details—Llewelyn, the door, and the window. 
• The darkness surrounds Llewelyn as his ever-approaching doom stands in front of his door as a shadow. 
• The naturalist lighting of the night can’t help but evoke a sense of dread and tension as we know the boogieman will show his face soon enough. 
• As Moss enters the strangers car, noting 'i'm not going to hurt you', there is a sense of the CB built an image of capitalism in the sense of its crimogenic nature that leads to death + gruesome violence
• The stranger being shot (MS) builds the tension since this is the fate the audience is awaiting coming to Moss, yet he seems to outrun it (for a period of time)B
• The stranger being shot (MS) builds the tension since this is the fate the audience is awaiting coming to Moss, yet he seems to outrun it (for a period of time)B
• As Chigurh shoots at Moss through the windshield, we cannot see him: he is like a ghost in the night waiting to capture its victim.
• Chigurh shooting the stranger could be read as him toying with Moss, he knows his skill but choices to mess around a bit (furthers him as the ultimate villain)
• Chigurh shooting the stranger could be read as him toying with Moss, he knows his skill but choices to mess around a bit (furthers him as the ultimate villain)
• Pleonastic gunshots.
• SRS between C + M - We are haunted by Anton’s silence and Llewelyn’s coolness. 
•  The scene is quiet and deliberate as it approaches its goal of shocking violence rather than surprising the audience with an ambush. 
•  It wouldn’t make sense for this neo-western if the characters just wildly attacked one another.
• Skip lievsay = sound designer