Scene Analysis: Close Reading the Language of Film

Any scene can be used for detailed analysis; the opening scene should be looked at, since this is where plot,
characters and especially setting and mood are established, plus one or two others.
Where students are unfamiliar with scene composition and editing, a useful – if elementary – exercise is to play a
short sequence, preferably one with many different shots, and have them call out “cut” every time there is one.
They quickly learn to recognise cuts, and thus to become more aware of the manipulative nature of the camera.
Better students will soon identify dissolves, fades etc.
The ‘slow advance’ buttons are very useful for close analysis of camera angle and movement.

 Show the selected scene right through. Keep it short – a few minutes only.
 Return to the beginning and show it in short, manageable sections, stopping to allow students time to make
notes. The aim is that students should link film techniques with presentation of plot and character
information.
 Having the students work in groups can speed up this process, with different students or groups allocated
different aspects to look for: camera angle, lighting, SFX, music etc. If this is done, then the allocated topic
should be changed each time, to ensure all each student has the opportunity to examine each aspect.
 Build up comprehensive notes on the board which can then be copied so all observations are shared.

 Record details of
Camera work four or five key shots in each segment, noting
 framing, camera angle and size of shot, camera movement
Light, colour:
 how much, direction it is from, use of shadow or silhouettes etc.
 use of warm or cold colours
and editing:
 cuts, dissolves; pace, juxtaposition etc;
Sound:
 dialogue, voice over
 music, sound effects

 Students should prepare analysis sheets before starting: a suggested format:

Action / dialogue Setting/costumes etc Camera work and Lighting Sound, Effects, Editing

 An alternative approach is to look at each scene or sequence three times, first for mise en scène (what can
be seen), secondly for cinematography (how it is photographed) and third for post production (what is added
later).
Record findings under the headings:

aspect mise en scène cinematography post production

e.g. setting in time

Establishing sequences

 Share observations around these questions:

a) Where and when is the film set?
b) How is the setting established? What details are emphasised?
c) Which characters are identified as important?
d) How is this done through film and sound techniques?
e) What are characters doing and/or saying the very first time we see them?
f) Does this action indicate any qualities about the person that become important later?
g) Is there any event that suggests what the film is going to be about, or the issue with which it will deal?
This can be repeated for major shifts in set/location, especially in the early stages of the film.

18
 Close Reading the Text – a Checklist

When you watch the film for the second time, you will need to look much more closely and analytically.
The purpose is to identify and understand the techniques that film-makers use to manipulate audience
responses.

As you watch each scene or sequence, look for the following, and make notes of what you see. Not all
questions will need to be answered for every sequence.

Plot/narrative:
 What does the scene contribute to the way the story is being told?
 If time has passed, how do you know?
 Would it matter if the scene had been left out? Why/why not?
 ‘Drama is conflict.’ Is there conflict in this scene? Between whom? Is it resolved or will it lead to
more conflict further on?

Setting:
 Where is the scene set?
 Is this a new setting or one seen before?
 If new, do you know where it is? How?
 Are there any significant details that may prove important?
 Are any details included to provide local colour i.e. to make the setting realistic and convincing?
 What time of day is it? How do you know? Is that significant?
 What is the weather like? Is that significant?
 Has the director used contrast, colour? How?
 Is there anything in the setting that affects the characters?
 Is there anything about the setting that provokes a response in you? What kind of response?

Characters
 Are there new characters in this scene, or only ones we have met already?
 If new, who are they? How is their identity established?
 Do we learn anything new about the characters? What? And how?
 Look at the costumes. What do they tell us about the characters, the situation?
 Contrast is an important technique in characterisation. Are any of the characters contrasted?
How? To what effect?

Cinematic Techniques
 Consider the mise en scène – which is a film term meaning everything in a particular scene, and how
we are shown it.
 How is the scene filmed? What kind of lens (zoom, wide angle), shots (size, angle etc), movement?
What is the effect of this?
 How is it lit? Natural or artificial lighting? directional? colour filters?
 Listen for sound effects and for ambient sound (Foley). What do they contribute?
 How is the dialogue treated? Is it spoken to enhance the beauty of the poetry or is it modernised,
made more realistic? Is the treatment appropriate?
 Look for colour, use of repeated motifs, use of visual symbols.
 Look for links between scenes – outpoints and inpoints; listen for aural bridges

There are many other questions you could ask yourself as you watch each scene. To begin with, focus
on a few that you can manage; as you get better, you will be able to deal with more difficult ones.

19
 Close Reading the Text: the Opening Scenes

 This is intended as a teacher resource, and should not be given to the students. They will absorb and
remember much more of what they discover and write down for themselves.
 This is necessarily brief; most is developed in more detail in further notes.
 Don’t try to analyse all camera shots, angles etc – select a few significant ones. The camera work is generally
understated and unobtrusive, in service of the story. This was a deliberate policy decision by the director; he
says he did not want the “overblown use of the camera, which is often the way with first-time directors. I
wanted to avoid that spurious search for style over content and I tried to move the camera only when it was
important to the narrative.”
 Look out for motifs and symbols.
 The chapter headings are from the DVD; // = CUT, M = motif; EXT. = exterior, INT. = interior
 a much more detailed analysis of the camera work in the first six scenes follows.

scene action commentary

1. titles
1 INT. Inpoint = C.U. of hand putting LP on LP rather than CD helps set time; song 
DAY; turntable theme
Billy’s song: “I was Dancing When I Was 12.” sunflowers on wallpaper; yellow T-shirt, green
room
Billy bouncing on bed: C.U. of his face, shorts
arms, hands, feet etc bounce into frame mood of exhilaration, sense of joy in his own
body, in the music
2 INT. song continues Billy continues to move rhythmically – mood
MORN- Billy makes breakfast - boiled eggs, continues from previous; the swinging peg bag
ING toast; carries tray and discovers room will be revisited as the punch bag later;
kitchen
empty. sudden change in mood to worry when he
realises his Nana is missing.

3 EXT. song continues M: little girl in blue in the street

house/ Billy finds his grandmother; leads her Billy gentle and tender with his Nana;
street/ home. Behind them – low angle shot - we (NB: Billy calls her Grandma, his dad refers
untidy
see vans and men with shadowy shields – to her as his Nana.)
green
shadowy, ominous Social context introduced – the miners’
area
strike. Sense of foreboding.
M: police, vans
4 INT. song ends //Tony takes off his Socio-economic situation: Billy shares with his
NIGHT earphones, complains that Billy has been older brother in spite of big age difference.
playing his records; hits him. Billy denies Strong contrast with affection of previous
bed-
it – a lie; complains about Tony’s smoking scene.
room
dope. Billy lies automatically – sets up environment
in which he is going to be deceitful over many
things.

5 INT. CUT to inpoint = Billy’s hands on piano M: piano; strike poster

MORN- Tony V.O.
ING Billy in pyjamas ‘playing’ piano// Grandma
lying in bed // Tony getting coat //Billy
home
at piano // Dad, not dressed, brings in
coal scuttle // Tony leaves without Jacky
6 // Dad by Billy at piano: “Leave it, Billy.”
Important scene for info on family: Billy
tinkers with piano but no skill – no money for
lessons; Tony off to picket line – the
aggressive one.
Tony optimistic, Jacky realistic:
J: “There’s not much of that coal left.”
T: “That’s fine. We’ll be digging it up again
next month.”
J: “Don’t kid yourself.”
NB - shallow focus

20
 “Mum would have let us.”
Dad closes piano on B’s hands // leaves //
C.U. on Billy’s face // Grandma // Billy
starts to play again // “Your 50 pence is
on the fridge.” // Billy and keyboard -
TILT UP to happy family photos on piano
– Mum prominent.
2. A Disgrace to the Gloves
7 EXT CU on gesticulating hands;
DAY sirens, chants of “Scab! Scab!” as police
picket vans and bus pass // Tony in the midst of
line
the protesting miners; as bus passes,
helmeted police with visors and shields
are revealed.
8 EXT. CUT to signs on wall: Boys’ Club, Dance
DAY School
hall
Billy – boxing gloves round his neck – and
Michael sitting on rubbish bin. Billy is
pushed aside by another boy. Michael
expresses disdain for boxing, for Billy’s
prowess.
9 INT. The ballet class will share the room
hall because the ground floor is being used as
a soup kitchen for the miners.
Billy is late.
10 CROSS CUTS: Billy // Dad // other
boy // girls
Billy faces his opponent with C.U. of Dad
watching through the wire cage and the
tinkle of the piano accompanying him.
Billy ‘dances’ around the ring to cries of
“Hit ‘im!” – and is hit in the face. “This is
man-to-man combat – not a bloody tea
dance.”
Told to use the punch bag. “You’re a
disgrace to them gloves, your father and
the traditions of this boxing hall.”
21
Dad uncomfortable at mention of “Mum” – no
ability to express emotions so hurts Billy
instead.
Small instance of defiance – allowed – sets
tone for bigger ones later. Billy is used to
ignoring what his father says.
Billy’s POV – contrast between happiness in
photo and present atmosphere. Mum’s death
quite recent – Billy not much younger in
photo.
Contrast between the noisy vociferous miners
and the motionless, silent police.
Early in the strike  enthusiastic
M: police, van
Freeze frame for a lovely composition.
Michael already has the courage to be
different: “It’s a load of shite – kicking
people around.”
Billy easily pushed around – physically anyway.
Symbolises what happens to him again and
again.
M: boxing gloves (his grandfathers’ = symbolic
of the tradition ballet will help him escape)
The strike is the direct cause of Billy’s seeing
ballet for the first time.
His lateness suggests a lack of enthusiasm
for boxing.
Contrast between the aggressiveness of the
boxing and the pretty girl in the tutu.
Billy is no good at boxing in spite of his
denials.
“Billy. Punch bag.” - ironic: it is an
instruction but also a description.
M: boxing = symbolic of the brutal life that
would surely crush him.
M: cage
CROSS-CUTS emphasise contrasts – visual
and conceptual
 3. The Ballet Class
11 Inpoint: C.U. of Billy flailing at punch bag; Aural bridge – her voice before we see her.
V.O. Mrs Wilkinson M: piano
// he is told to stay after the others
have left, and return keys to Mrs W //
L.S. at punch bag // Mrs W, smoking,
behind piano // L.S. Billy and bag sway to
music

12 SLOW ZOOM in on Billy as he listens to
the music and her instructions // LS
of Billy walking towards ballet
class // Mrs W // line up of little
girls in tutus with Billy behind
them // offers her the keys // “’The
Sun will come out tomorrow.’ Fat
chance.”
Not likely that they would have lessons in
tutus but it provides great contrasting
shots = dramatic licence.
Good use of mirror as Billy goes over to
barre

13 The lesson continues and Billy’s feet in M: shoes

boxing shoes are seen to be following the
instructions; given ballet shoes and “Go
on, I dare you.”

14 “Hold it.” Billy is able to hold the pose Mrs W is suddenly interested.
long after the girls have given up.

15 EXT. Mrs W in car invites Billy next week. He Note policeman in background
DAY says he has to go to boxing.
street
16 As he watches her car disappear, we hear he can’t help himself dancing
the voice of Fred Astaire singing "Top
Hat, White Tie and Tails"; Billy moves to
its beat.

17 INT. INSERT: Fred Astaire from Top Hat. the decision has been made, even if Billy
stage doesn’t know it yet.

By now
 the scene has been set: in time, place, social group
 the main characters introduced: we already know quite a lot about each one
 the plot is underway: the miners’ strike; Billy has had his interest in ballet sparked
 conflict has been set up: miners v police; ballet v. boxing; Billy v. his family
 most of the recurring motifs and symbols have already been introduced: feet, the little girl, the
police presence; the piano, the idea of dancing

Suggested tasks:
 list what you know already about each main character
 list the signifiers that tell you about setting – time, place, society etc
 identify any recurring motifs or symbols that you have noticed
 has anything been suggested so far that will lead to problems or trouble later on?
 analyse in detail the camera shots and angles in the first few scenes. What do they help reveal
about this family?

22
 Opening Sequence: Camera work

camera work and editing sound / light

Inpoint = C.U. of hand putting LP on turntable, nervously turning it
on; HOLD on record player while legs appear behind// song: “I was Dancing When I
EST shot sunflower patterned wallpaper – BCU of face, arms, hands, Was 12.”
feet etc as they bounce into frame INTERCUT with TITLES //
MCU, CU, PULL BACK to LS of Billy against wallpaper//
EST. SHOT of kitchen wall, doorway – TRACKING MLS of Billy song continues
coming through, toward the camera to bench, to stove, swings round
with eggs on spoon, to toaster, jumps up onto bench, catches toast
with plate, back to tray, bumping the swinging peg bag, picks up tray
and crosses room to the sliding door which he opens with his head
[all one uninterrupted shot]//
POV from room of Billy at door with his perpetually worried face //
Billy’s POV of her empty bed //
MS of Billy with tray; he backs into kitchen, turns, spilling an egg // “No!”
EXT. LS of Billy coming out of back door towards camera, up to song continues
street, little girl in blue watches, he pauses // CU of Billy’s feet
running away from camera // Billy running to camera up the street
with the child watching // CU his feet running //
WIDE on shrubby area: MCU of Billy on left, close to camera – in
shallow focus; MLS of Nana on right, further back; he turns and
sees her, runs to her //
MCU towards camera and comes up behind her; gentle hand on her
shoulder; she turns, frightened and lost – juxtaposition of youth, “Grandma. Your eggs.”
energy, vigour with age, fear, frailty; he takes her hand and leads
her past the camera which stays on a wide shot of trees and bushes,
and the shadowy sinister vans and police on the road above //
WIDE EST shot of bedroom: bed lamp, Billy lying, reading close to song ends
camera, Tony sitting on bed at back; the record player by the room dark – light from lamp,
window; Tony takes off his earphones, complains that Billy has been dull light from window. (It
playing his records; hits him, abuses him; Billy denies playing the stays light very late in summer
record; Tony goes back to bed, Billy complains about Tony’s smoking in north of England, often till 10
dope, Billy turns off light and snuggles into bed. [one single shot] or 11p.m.)
CUT to Inpoint = Billy’s hands on piano; PULL BACK to Billy in pyjamas piano notes picked out
picking out notes // Tony V.O.:
MCU Nana in bed// TRACK MLS of Tony getting his jacket// J: “There’s not much of that
Billy at piano// Jacky comes in with coal scuttle // MCU of Tony coal left.”
with armband: “N.U.M. Official Picket’ // MCU Jacky sitting in T: “That’s fine. We’ll be digging
foreground, in focus, Billy behind him, similar pose, out of focus // it up again next month.”
MLS Tony rolling up strike poster // Jacky and Billy again –still J: “Don’t kid yourself.”
shallow focus // Jacky’s POV of Tony leaving // Dad and Billy:
“Leave it Billy”; “Mum would have let us.” – focus stays on Jacky who
suddenly stands, turns, shuts the piano lid //
CU Billy’s face in profile: no change – he’s used to this // LS of V.O.: “Your 50 p. is on the
Jacky’s back view leaving the room // MCU Nana in bed // CU Billy’s fridge.”
profile, PULL BACK as he slowly lifts lid and resumes picking out
notes // MLS Jacky at door // CU Billy at piano, he looks up and the
camera tilts with his eyes to his POV of happy family photos on
piano.

23
 Scene-by-scene Commentary

Now continue with the rest of the film. Some scenes have been combined for practicality.
Note: CROSS-CUTS properly refer to movement between different scenes happening at the same time;
MONTAGE is a sequence of quick scenes suggesting different times. Daldry sometimes mixes these two types of
editing - INTERCUT.

3. The Ballet Class - continued

18 EXT. DISSOLVE to L.S. of Billy and Lovely shot of her in ballet pose, framed by
DAY Grandma, tiny on horizon; Grandma the two great chimneys from the factory
talks about Mum, Fred Astaire and her behind.
own ballet.
19 They walk on and we see they are in a Jenny Elliot died December, 1983; the weather
cemetery. Billy is carrying flowers. He suggests it is now summer or late spring.
tries to rub graffiti off his mother’s The pit provides a contrasting and depressing
tombstone. He cuts the grass with a background.
pair of scissors. Grandma has
wandered off.
20 INT. Billy’s attempt to talk to Tony is
NIGHT knocked back; Tony just sneers at him
bed-
room
4. To Be a Dancer
21 EXT. Inpoint = strike posters M: posters
DAY Debbie tries to persuade Billy to come Contrast between children and the huge strike
street back to the ballet class. She drags her posters: “Strike Now”. Double meaning –
stick along the wall and without a instruction to Billy?
break along the police shields. A police The central issue of whether it is ‘sissy’ to
van passes and Debbie has vanished by dance is raised.
the time it has gone. M: police - the police presence is not even
noticed by the children. (This scene was
inspired by a newspaper photograph. It was
not in the original script = a directorial
addition.)
22 INT. Billy at piano picking out tunes M: piano
DAY Aural bridge to next scene – same tune
home
23 INT. // CU of feet in sneakers etc = M: shoes, feet
DAY changing rooms; Billy hides in the
hall changing room until the boxers have
left
24 hall // ballet girls and PAN to show Billy in
their midst

25 chang- Debbie and Billy; Mrs W – Billy – “I

ing feel like a right sissy” – but will come M: Billy sitting alone looking at the ballet shoes
room again next week. = symbolic

26 INT. Billy hides the ballet shoes under his A bit contrived – he would hardly need to shift
DAY mattress; says he’s lost the gloves. the entire mattress to hide the ballet shoes -
home “They were my father’s gloves.” – but it creates a little suspense; we realise he is
emphasises tradition. afraid to tell his Dad about the ballet classes.
music – aural bridge M: shoes

24
27 INT. MONTAGE of scenes: classroom, Michael asks about tutus = ‘loaded pistol’ for
DAY changing room, running etc; he and later.
school Michael take a short cut. M: mirror
Billy runs into the next scene.
28 EXT. Billy goes to mobile library; steals a Episode with the mooner and the police car is
DAY book on ballet. more than a useful distraction to allow Billy to
/INT. steal the book; it is also indicative of the
mobile
disrespect the community has for the police of
library
– seen as a tool of middle class oppression.
29 INT. ballet girls run up the stairs; Billy looks lovely top shot down the spiral staircase as the
DAY up and follows tutu-ed girls come up and Billy peers up from
hall below.
- symbolic scene – he lifts his sights and
follows them up.
+ passage of time
30 INT. – MONTAGE (cross-cuts): Billy M: mirror
DAY practising at home // at dance class // Mrs W is short-tempered, aggressive,
music & Mrs W’s voice continues demanding; Jamie’s cracker of a smile lights up
through all//his success does not get the screen – at home and at class
the approval he expects but a wink
suggest complicity, a special
relationship
31 Mr Braithwaite (the pianist) tells him Billy now has enough confidence not to care.
he looks an idiot among the girls.

32 EXT. MONTAGE (cross-cuts): Billy dancing Exuberance and developing skill

DAY down the street // Billy at piano M: piano
street/
home

5. Dad Finds Out

33 EXT. – The boxing coach tells Jacky that Billy “I haven’t seen hide nor hair of Billy for
DAY hasn’t been coming. months.”  time has passed
the The miners shout ‘scab’ at the bus, as This time it is Dad, not Tony, the camera
picket
eggs drip off. concentrates on.
line
34 EXT. CROSS CUTS: confrontation between Billy in the middle of the tutus; singled out for
picket/ police and strikers (high angle attention
INT. overhead shot) // ballet class – Billy Contrast between Billy’s growing confidence
hall
singled out – “Powerful. Proud.” and the increasing humiliation of the strikers

35 EXT. Confrontation between Tony and his ‘loaded pistol’ for later – when Dad nearly
DAY “best mate” Gary who is a strike- becomes a scab too.
shop breaker.

36 INT. Billy off to ballet – with his boxing emphasises his deceit
DAY gloves prominent M: gloves, shoes
home V.O. from radio: “P.M. Margaret Thatcher
referred to members of the striking
National Union of Mine Workers as the
‘enemy within’. . . . several months of
violent clashes between police officers and
striking miners.”

25
37 EXT. Billy passes policemen playing ball M: police presence
DAY

38 INT. Ballet class: Dad sees Billy who freezes
DAY
hall
39 INT. Dad tries to explain to Billy that ‘bahly’
DAY is for lasses, that “lads do football or
home boxing or wrestling” – manly activities.
The scene ends predictably – with an
order to stop and a frustrated cry of,
“I hate you.” C.U. of the two faces and
an eruption into violence – Dad doesn’t
know what to do about this son.
Mrs W realises for the first time that Billy’s
Dad doesn’t know
M: cage; mirrors
Billy tries to force his father to say what he
thinks but his dad can’t say it. Billy brings it
into the open – his father’s fear that he is a
‘poof’.
Ironic – Wayne Sleep is very effeminate

40 EXT. song: “The Children of the Revolution.” great low angle L.S. of the brick back-to-back
DAY Billy punches a strike poster in anger; housing as Billy runs from the house
street stands in dejection and frustration M: two policemen wander down the street

41 EXT. Billy, in school uniform, visits Mrs W; Area a telling contrast with Billy’s: detached
DAY stays for tea. Mr W – who has been houses, lawns, gardens, cars in drives etc
middle made redundant – criticises miners for Contrast between the oddly mature
class
striking. conversation of the children about her parents
street/
Billy understands his father even while and sex, and the pillow fight that ensues.
/
INT. being angered by him: “It’s not his M: swans on wallpaper; feathers everywhere in
fault, Miss.” fight – foreshadow Billy’s feathery costume in
last scene.
A moment with Debbie – interrupted
6. Mrs Wilkinson’s Offer
42 EXT. Mrs W says she thinks Billy should try Lovely little scene in the car – funny and
DAY for the Royal Ballet School and offers tender; the rapport between these two is
car to teach him privately and for nothing. wonderful.
The wise child clears the air: “You
don’t fancy me, do you?” She doesn’t.

43 EXT. / Billy visits his friend Michael who is Billy remarkably accepting of the situation he
INT. wearing a dress. Michael puts lipstick finds. Another complication – Michael would
DAY on Billy. miss him if he went to London.
Lets Michael put on lipstick – open to new
experiences.
Time has passed – he has an audition in 2
weeks.

7. Private Lessons
44 INT. Inpoint = top shot of Billy at door
DAY Billy has come for a lesson, with a
hall football, a Newcastle football shirt and
a letter from his mother that he knows
by heart. “Always be yourself.”
“She must have been a very special
woman, your mother.”
“No, she was just me mum.”
Aural bridge to next shot
Note the strong light/shade; the lovely light
through the fanlights;
Not the first lesson – time has passed, trust
has developed. Showing the letter to Mrs W is
a measure of his trust in her. She has become
a mother-substitute.
M: cage

26
45 “I love to Boogie.” Billy not the only dancer in the family.
CROSS CUTS: Billy and Mrs W
dance // Tony moving to same music //
Dad in bathroom // Nana does ballet
steps
46 EXT. same music as Billy walks home M: police
DAY

47 INT. Billy starts on Grandma’s tea. the music stops abruptly when Billy closes the
DAY door = symbolic

48 INT Early morning – 4 a.m. Billy excluded but onlooker.

bed- Tony is going out – with a hammer. Dad Dad’s helplessness re both sons
room tries to stop him but cannot. Violence Note - Tony does not hit back.
explodes.

49 INT. Lesson – Billy having trouble; fight with There is a sense of equality between these two
DAY Mrs W; he screams her inadequacies at – she does not treat him as a child.
hall her, she slaps him and they (briefly) She pushes – he is bolshie
comfort each other. They use the boxing ring
He continues his lesson. M: mirror – much more gentle

8. A Ghost Story
50 EXT. Billy in Mrs W’s car, they cross the M: Swan Lake
DAY. river on ferry; she tells him the story M: policeman in van
road of Swan Lake.
51 INT. Nana wakes up frightened; Billy sees
home his mother in memory (F/B)

52 INT. another lesson camera spirals around him

DAY
hall
53 Debbie chats - the audition is next ‘loaded pistol’
day; she makes an advance; Billy not
interested
9. Tony’s Arrival
54 EXT. The police advance with riot shields; A grim, ugly confrontation
DAY they pursue the strikers; Tony is M: police – frightening image
street identified as “the union leader” and Climax of hostility between police and
chased through houses until he is picketers
eventually caught, trapped in sheets M: police vans, sirens
off a clothes line and beaten bloody. The police are portrayed as a hostile force –
aggressive, brutal; the locals help Tony try to
elude them
55 INT. – Billy surreptitiously on the phone to direct result of rejection in 53
NIGHT Mrs W but Debbie answers it and
home hangs up.
56 MONTAGE: Billy with Tony at court // she waits in the boxing ring
Mrs W waiting at hall // in car // Mrs
W looking for Billy’s home //

10. The Chance to Dance

57 EXT. as she walks back to car, she meets M: little girl in blue

27
 Billy with Dad and Tony

58 INT. – Tony takes charge – refuses to hear Series of P.O.V. shots from Billy on table at
DAY the idea that Billy should learn ballet. the 3 people who want to make decisions about
home “I don’t want a childhood. I want to be his life – and none listen to him.
a ballet dancer.” Class issues here – Tony calls Mrs W a ‘middle
Tony tries to make Billy dance on the class cow’.
table. music starts:

59 INT./ INTERCUTTING: Mrs W and Tony
EXT. yelling at each other with Billy on the
table // and Billy – later – dancing// he
continues to dance - against brick wall
and in toilet and on roof etc – watched
by Michael and by Tony (through
window) and little girl.
The sound of the argument disappears
as Billy tunes out & the music gets
louder.
All angry people – Billy able to express his
anger and frustration in dance.
M: cage – of brick and corrugated iron.
Great top shot of him in backyard; another
lovely one in flat perspective of blue sea
between stepped houses and wall, with a tiny
yacht (symbol of freedom – note the picture of
yacht above Billy’s bed) behind and Billy
dancing up into frame
# a useful scene for close analysis

60 EXT. Michael calls him and he runs into a

scene of snowflakes – it’s Christmas
11. Christmas
61 INT. Miners celebrate Xmas Plenty of cheer and bonhomie – they make the
best of things
62 EXT. – Dad is chopping up the piano; Billy Billy flinches at every strike
DAY watches Dad upset: “Shut it, Billy. She’s dead.”

63 INT. – Inpoint: fire; the wood is for the fire – it is a lean time – all very subdued; only Nana is
DAY they needed the firewood; Dad cheerful
weeps//
64 EXT. - Billy and Michael make a snowman; Accepts Michael as he is.
night Michael warms Billy’s hands, kisses him
12. A Dance of Defiance
65 INT. Billy gives Michael a tutu and teaches M: cage
night him the basic positions. Jacky is Billy at his lowest ebb yet still shows his
hall summoned; Billy dances. Jacky indomitable spirit.
speechless.
climax of Act 2
13. Dad’s Decision
66 EXT. Dad visits Mrs W; aural bridge to next # plot point to start Act 3
night scene
67 INT. Billy lies awake in bed; Dad comes in
night but cannot say anything.

68 EXT. To get the money to take Billy to A hard and bitter decision for Jacky – a
DAY London, Jacky decides to go back to measure of his love for his son. He knows he is
mine work. Tony sees him in the bus and trapped but Billy deserves his chance to escape
climbs the fence to stop him. and develop his talent.
“We’re finished. Let’s give the boy a M: police
chance.”

69 EXT. Inpoint = M.C.U. of Billy in bed; Tony

night shows support for once: “Dad’s right.
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 Mum would have let you.”

70 INT./ Fund-raising for Billy; Jacky pawns his Pawnbroker may need explanation.
EXT wife’s jewellery.

71 INT. On bus to London, Dad reveals he has Contrast between his narrow outlook (and
DAY never been further from home than experience) and Billy’s big dreams
bus Durham.

14. The Audition

72 EXT. WIDE ANGLE EST. shot of Royal Strong contrast with the County Durham
Day Ballet School; L.S. of Billy and Dad environment – an imposing neo-classical
building, with a neat lawn in front

73 INT. Top shot of them from the staircase – Sense of the oppressive and frightening
DAY beautiful sweeping curves. Billy looks architecture; Billy called “William’ = oppressive
foyer around in wonderment, awe; P.O.V. of formality
dome.

74 INT. Other boy friendly but confident; Everington, Cy Durham; Billy has never even
DAY mentions Durham cathedral been to Durham

75 Medical examination; Billy has “changed Billy is intimidated by everything.

me mind.”

76 INT. the audition//Dad waits on The reactions of the panel suggest this is not
tenterhooks // Billy dances – rather quite what they expect. We are prepared for
ungainly but energetic // rejection.

77 INT. Billy feels humiliated; the other boy Billy responds with violence – unsurprising,
DAY tries to comfort Billy who takes given his role models
change umbrage and hits him. Billy sits with M: cage
room
Dad// despondency

15. The Interview

78 INT. Billy and Jacky sitting this time in Billy expresses himself in dance, not words.
audi- front of panel; Billy is inarticulate “Mutual respect and self-discipline . . .” – not
tion faced with questions. what he has seen much of in his home town
room
Then asked how it feels when he
dances, he replies, “I sort of
disappear. Like I feel a change in me
whole body. Like there’s a fire in me
body. I’m just there… flying… like a
bird. Like electricity. Yeah... like Patronising “Good luck with the strike.” –
electricity.” Jacky does not dignify it with a response.

 the “third act” has built up to this climax, but Billy knows his audition did not go well, so the
audience is set up for a disappointment; there is no certainly at this stage of a happy ending
 the miners are still on strike and no resolution seems likely

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 Close Reading – final scenes
When examining the conclusion, consider whether it
 is a satisfactory resolution for the film as a whole
 has tied up all loose ends (assuming that that is necessary)
 has visual and/or verbal connections to the start
 is believable and satisfying
16. The Letter
79 INT. Inpoint: toaster
MORN- MONTAGE of waiting unhappily - at home// in
ING class (Michael hits Billy with ruler cf. 27) //
kitchen;
postie //in street
Nana: “I could have been a professional
dancer.”
80 INT. Inpoint: CU of letter propped against the sauce
DAY bottles; PULL BACK to Tony, Dad, Nana all
kitchen quickly seat themselves around the table// Billy
sits down, chews lip, taps fingers, looks at them
– it isn’t just his future at stake here; his
reluctance to open it = his fear, his certainty of
rejection; takes letter into his room to open it
in privacy - respected // family wait – even
Tony on tenterhooks // CROSS-CUTS: Billy
opens // family // Billy reads, upset,
troubled // Dad // Billy + cushion // Dad; all
three come ready to comfort him // he’s been
accepted
81 EXT LS of Jacky - runs up into shot framed by
houses and sea behind – to Miners’ Social
Club//
82 INT. Jacky bursts in excitedly, to an anticlimax –
hall the union caved in and the strike is over, having
achieved nothing but misery
83 EXT. DISSOLVE to cemetery
DAY MS Dad offers support to Billy: “We’re all
ceme- scared.” A joke and a moment of love and
tery laughter between father and son – and one of
Billy’s wonderful rare smiles.
MCU Billy and Dad on ground – hug
84 inpoint: Billy sitting in hall;
VO = Mrs W’s counting;
Billy looks through cage - she comes through
and they have a stiff farewell scene. “I’ll miss
you, Miss.” “No you won’t.”
Billy looks again through the cage but he is
outside it now forever.
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the images are echoes of earlier
scenes
mood of depression, uncertainty, a
sense of failure
NB: Billy walks past the boarded up
Rialto theatre – tagged and run-down
her mantra
They respect Billy’s right to open his
own letter – big change in attitude to
him from earlier; they all have a stake
in this now, even Tony;
no change in Billy’s expression as he
reads – so we assume rejection.
Unexpected mood – Billy not excited
but frightened
“climax” of dramatic need yet rather
low key.
cf. earlier shot of Billy dancing (59)
mood = elation
light behind him; then sharp change
of mood – subdued, unhappy,
depressed – strong contrast with
Xmas mood (61)
a sign of how far Jacky has come –
able to relate to, communicate with
Billy, express feelings
field of ripe grain behind – autumn
(prob. Sept = start of Term 1)
M: cage
Billy has come to say goodbye – he is
actually leaving today – and we realise
he did not even go to tell her he was
accepted.
She is realistic – this relationship is
over; her life has gone back to what it
was; his is beginning.
85 INT. the family is waiting to take him to the bus. J: “We’ll miss the bus.”
DAY Hugs his Nana goodbye; she holds him tight and Nana the only one of the family who
kitchen then pushes him out. always supported him.

86 EXT. Closes door – symbolic // Dad and Tony dispute J: “We’re gonna be late.”
DAY which of them will carry Billy’s bag// Goodbye M: little girl in blue
street/ to the neighbourhood// to little girl // to
bus stop
Michael – kisses him// HOLD on MS of Michael,
looking after him // Tony is only able to say “I’ll
miss you,” as the bus is leaving. // LS – Billy in
back of (National) bus // PULL BACK from
Tony, Dad in LS, getting smaller

87 MONTAGE: Dad and Tony into miners’ cage –
back to depths of pit; LS of Mrs W in empty
hall// Billy on bus to freedom and his future –
ZOOM in on his isolation;
TRACK along bus and shadowy figures to Tony
and Jacky sitting in an underground carriage.
Now it is Tony: “We’re gonna be late.”
M: cage; miners huddled, despondent
– the film does not offer Billy’s
escape as an escape for anyone else.
He is lucky.
The hall - same light as in 44
ZOOM symbolises time passing = the
only use of SFX.
Leather jackets of earlier replaced
by jackets, ties; underground = the
most modern station
Jacky seems in awe of his
surroundings.

17. Billy’s Big Night

88 EXT. Theatre Royal, Haymarket, London 15 years later; Billy is 25 (both
NIGHT They take their seats; next to them (Billy figures from material from film-
/ INT. obviously sent him tickets too) is Michael. makers)

89 INT. A young man walks towards the stage; he is light similar to that of the hall.
Back- dressed and made up as a swan – Billy; he goes An image of freedom, the freedom of
stage onstage in a fantastic jeté – and he and the artistic achievement, of success, of
lights behind him pursuing your goals

90 DISSOLVE into the sunflowers of the opening
scene with young Billy bouncing
DISSOLVE into adult Billy as swan
DISSOLVE into sunflower wallpaper and young
Billy and credits.
contrast between the undisciplined
bouncing and the disciplined skill of
the adult.

A satisfactory resolution?

 The strike is over – but not in a satisfactory way; what has happened to the village in the 15 years
between then and the epilogue is ignored. But then the strike was merely a context, not the
central issue of the story.
 Billy has realised both his ambition and his talent. He has escaped, but there is no easy suggestion
that that is a solution to the problems of the town as a whole.
 Mrs W has not escaped, and we assume she is forgotten – as she predicted - since she is not seen
in the epilogue.
 Michael has also escaped, and like Billy is being “true” to himself.
31