taking stills from the scene every 2.5 seconds, a diagram emerged. lining up the images vertically on a sheet yielded five sets of seven still images from the film. each column of seven images turned out to represent a major sequence of events in the scene: the first was amelie's moment of clairvoyence and inspiration; the second sets up the man on the sidewalk and amelie as she gets the idea to whisk him up; the next two columns are the adventure itself, running through the streets in a flurry of motion and sensory experiences; and finally, the fifth column represents the final part of the scene, shot with one camera, where the man gets dropped off in front of the metro simulatneously stunned, disoriented, and thrilled. taking it a step further by trying to understand the scenes compositionally, i began overlaying swatches of highly saturated colors over the scenes. a similar pallette is used throughout the scene and color is also used as a kind of constant that strings the quick flickers of film together so as not to completely disorient the viewer.
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