Setting the Setting and Characterizing a Character: Establishing a Sense of Place and Personality The opening scene from Apocalypse Now begins with a quiet, clear shot of the jungle. The camera stays still and lingers; the jungle fills the bottom half of the screen. The long shot helps establish the jungle as a setting, a character, and a force of nature. Something flashes across the scene; it takes a moment to recognize it as the landing gear of airborne helicopters. An enormous silent explosion blasts between the trees revealing the conflict that lies beyond the visible edge of the jungle. The camera begins a slow pan from left to right indicating the beginning of the forward action and the beginning of the tale. Helicopters in full combat fly in and out of the shot establishing the scene as a war zone. The face of Captain Willard, as yet unidentified, fills the left side of the screen putting him side by side with a moment that is a recollection or a dream. The action fades between the war zone and Willard awakening from the war zone dream in his room; alternating between haunting him and engulfing him completely. The director demonstrates this powerfully by showing Willard’s face blended with the war zone then eventually faded out and replaced by the war zone. As Willard comes fully to consciousness, the war action finally fades away and he is in his room. Dust becomes trapped cigarette smoke; helicopter propellers become ceiling fan blades; the sound of the helicopters, unchanged throughout the scene finally fades off into the distance and the silence reminds the character and us that we are out of the war zone for the time being. The scene from Goodfellas serves as an establishment of character rather than setting. The scene begins with Henry Hill leaving his car and $20 with a valet and leading his date across the street and towards a large line of young people. Henry excuses himself and the line parts to reveal stairs and the club’s back door. “I like going this way it’s a lot better than waiting in line” Henry quips and then laughs as he leads his bewildered date through the door; Henry has done this many times and is completely in control. He is ready for his grand entrance into the Copa Cabana. The next shot is a long, winding, uncut jog through the back halls and the kitchen of the club. The shot itself mimics and exemplifies Henry’s relationship with the staff. He moves quickly, casually, and completely uninterrupted as he whizzes his date upstairs to the main lounge; the dizzying run is further demonstrated by the look of wonderment on his date. Upon entering, the maitre d’ turns his back on the bustling crowd and immediately requests a new table be added just for Henry and his date. The table is assembled at the very front of the room. In this single shot, we learn that this character is confident, charming, wealthy, connected, and popular; a man who commands respect that is not shrouded in fear, but personality. Henry Hill has arrived and the show is ready to begin.

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