The sequence begins with a long and extreme wide shot and the main character Barry in the right of frame. The props and sets show a strong feeling of Barry’s loneliness and isolation. The Barry sits in the corner of the room in front of a blue wall with one chair, one desk, one telephone and nothing else. This shows the audience his comfortable environment and world belongs himself. He also wears a blue suit, which matches and nearly blends into the blue wall and has a contrast to Lena’s red around the film. The telephone is a cue and through the whole film. Looking at the whole film, Barry seems good at talking with people in the phone but he is not an outgoing person in the real life. The dialogue shows he is polite and confident in the phone conversation and extends the film narrative by express story and emotion. All of these show the main character, Barry’s personality.
When he ended the phone calls, the camera pans with him and enter blackness until a garage door’s open with an abrupt sound of metal. The deep shadow is on the top and right of the frame until the camera turns to blackness. The sound of footstep continues in the blackness shows Barry walks to a place and attract the audience to pay attention to the narration with the unknown plot. He stands in the middle of the frame. There is a long shot of him also gives the audience a sense of finding light. As he walks outside, the camera track behind him and circles him until stop a direction that look the street in front of him. The camera changes the focus from Barry to the street during the process of camera movement with the long shot change to medium shot. This movement allows for the audience to see the same view as Barry’s and get the same feeling. The road that in front of the Barry also is a cue, which related to the place of first meeting between Barry and Lena.
The shot moves to somewhere between eye-level long shot and extreme long shot. The camera is in the middle of the exit and slowly zoom in to outside. This allows the audiences feel like walk together with the camera. The lighting obviously shows the ambiance of the morning atmosphere and the red cloud also link to the Lena’s red. The pans left to the street, we can see a red car crashed into a parked vehicle and flip in the air. In this shot, the car moves far away from the horizontal to the right of frame. There no end of the road was showed but the car drive from horizontal gives the audience enough imagine to the things. And then the camera moves to right with the red car. The lighting become bright and the red car seems blend to the background. The red is the most expressive color in the Punch-Drunk Love. We can also see red here and the red acts as foreshadow to later events and other female character. The accident of red car seems remind the audience that Barry’s life could be changed by the Lena. The sounds play a very important part in this shot. At the beginning of this shot, the...