The film Zodiac (2007), directed by David Fincher and written by James Vanderbilt, uses cinematic techniques to convey the themes and ideas of the true story of the Zodiac killer of the late 1960s and early 1970s. Utilising mise-en-scene, camera techniques and music to communicate the director’s dark and eery creative vision. This allows the audience to interpret the motifs, significance and greater meaning behind each shot on a deeper level through the emotive cinematography of Harris Savides. These techniques are particularly evident in the wide shot at 1:39:30, with the aspects of the shot, it’s particular mise-en-scene and editing, synthesising to create a significant place within the film’s narrative.

Savide’s cinematography in Zodiac skillfully demonstrates the practice of manipulating the particular framing of the shot and it’s mise-en-scene, which translates from French to English as “to put in the scene” and basically means everything within the shot. This idea is exemplified particularly in this specific shot, in which all the elements come together to create a believable scene full of suspense and finality. This is demonstrated by the costume design chosen for this scene, which has Allen wearing casual clothing which contrasts the detectives typical attire of a suit and tie. Therefore, symbolising the dominance and power they hold over Allen in this scene. This strategic choice by the costume department in having Allen dressed in casual clothing is the antithesis of him being, theoretically, the Zodiac killer. Who wears all black and holds all the power, thus this use of costume design is extremely important as it adds to irony of who the killer’s identity possibly is. Furthering this use of juxtaposition is the choice of setting and location in this shot, the sunny Californian countryside with palm trees edging around the trailer creates a friendly and welcoming atmosphere. But this environment could house a murderous villain and therefore creates a powerful image, as the detectives have finally gotten the warrant that will allow them to arrest Allen. This disparity is further emphasised through the use of warm colour grading that reinforces the feeling of victory that emanates from the shot. Furthermore, this depiction of the Californian landscape illustrates the way that Fincher presents the setting as another character within the film. With each area that the detectives are led to on their search for the killer, becoming significant as it holds a palpable importance to the killer. This characterisation of the setting makes this shot all the more fascinating, as this environment is presented in such an innocent way, yet allows the audience to believe that this is all part of the façade that the seemingly guilty Allen has conjured up. The sound design also furthers the suburban feeling of the setting illustrated within this shot. With an atmospheric soundtrack featuring the normalcy of dogs barking and cars driving past in the background, yet, disturbed by the sound of police scanners calling in the incident; Indicative of Allen’s peace and freedom being disrupted. This shows that even in a simple shot, the intricate use of mise-en-scene is profound for creating believability and significance.

Mise-en-scene is intricately linked to the many aspects of the shot that come together to create a significant image that leaves a lasting impact on the audience and furthers the events occurring within the narrative. This is illustrated in Zodiac through this particular shot and how it’s composed. The choice of using a wide shot is significant because it creates a stage which frames all the activity occurring within the shot and promotes the suspenseful showdown which is unfolding as Allen emerges from his car. This is reinforced by the fixed, static nature of the shot which allows the movement of the characters to be the focal point. The use of foreground and background space elicits a claustrophobic feeling as Allen is the primary focus in the foreground as he steps out of his car and the police are positioned in the background. The suspenseful feeling created by the manipulation of space within the shot is further depicted as the detectives walk out of the trailer and the creak of the door is heard. The composition of space within the shot ties into the way that the police are framed, elevated on the steps above Allen, surrounding him, illustrating the feeling of finality and the sense that he is guilty. This is likewise shown when the detectives say “Hello Arthur, remember us?”, and the way that this line is delivered emotes the feeling of retribution and snide satisfaction having finally solved the case. The lack of mobile framing emphasises Allen’s slow movements as he gets out of the car, as if realising he is unable to run and is trapped. These aspects within the shot create the tense and suspenseful atmosphere occurring and translate to the audience who are forced to wonder what will happen next.

The editing for this shot was extremely subtle, combining all the aspects and behooving the audience to feel the palpable victorious feeling of the detectives as they supposedly finally corner the Zodiac killer. The use of suspenseful music, which was crescendoing up in the scene prior to this shot, placates, as if the suspense is over and is now simmering with anticipation. The quiet use of stringed instruments forecasts the detectives hope for Allen to be charged as the killer and adds to the importance of this moment within the film’s narrative. Instead of a straight cut to the next scene, the shot fades to black, which promotes a feeling of finality and continues the feeling of anticipation which the scene evokes. As the frame fades to black, the sound of the car door shutting is heard, adding to the potential finality of Arthurs fate, whilst creating a parallel which emulates the sound of a cell door closing. This use of the fade transition could almost signify the end of the film for the audience, as by time this shot occurs in the film it has been running for almost an hour and forty minutes, which is a typical film length. The conclusive nature of the shot could be interpreted as the ending, which shows the significance of the shot and its editing as a turning point within the film. Furthermore, the choice of employing colour grading, specifically a warm colour palate, creates a contrast to the stark events of the film prior to this shot and juxtaposes the relaxed scenery within this shot to the dread that Allen must be feeling as the detectives close in on him. Editing plays a significant role in how this particular shot is construed by the audience, creating a weighty prelude in it’s construction, before the heavy events that follow in the narrative.

Conclusively, the static wide shot at 1:39:30 in David Fincher’s film Zodiac, specifically combines the elements of mise-en-scene, the aspects of the shot and editing to create a significant shot that is reflective of the complexity of the film’s narrative. The shot incorporates these film techniques to translate the contrasting feelings of foreboding and finality, juxtaposing the position of the detectives and Allen. Juxtaposition is a staple within this shot and throughout the entire film, as every component has an antithesis. This illustrates the importance of the minutiae of this specific shot, which all comes together to create its individual significance within the film, as a catalyst within the storyline.