Wes Anderson and Tom Tykwer are two directors who have created their own style of filmmaking, allowing them to create engaging and suspenseful moments. This has led them to be leading names in American and German cinema respectively. This essay will analyze how each director uses a combination of editing, sound, and cinematography techniques to create unique viewing experiences in two equally dramatic scenes. The scenes referenced in this essay are from The Grand Budapest Hotel (2014) and Run Lola Run (1999). In The Grand Budapest Hotel, the two protagonists, Gustave and Zero, are on a train heading to Lutz when their journey is interrupted by army officers who attempt to arrest Zero for being stateless. In Run Lola Run, the protagonist Lola interrupts a tense conversation between her father and his colleague, with whom she is having an affair. He holds a gun to his head and maniacally demands money. The use of continuity editing to highlight the expressive performances exaggerates and prolongs the tension in both scenes. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In Run Lola Run there are a series of medium and close-up shots that frame the characters individually. The shot cuts between Lola, her father, her co-worker, and the security guard (who has just entered the room behind Lola). These shots interchange rapidly, creating a feeling of anxiety in the audience. Although these montages expand the duration of the action, they provide a sense of rhythm and speed within the scene. The scene then cuts to a close-up of Lola's hands pulling the trigger. The magnification of this action in slow motion which increases the suspense and creates an explosive tension in the room. Lola pulling the trigger, her father dodging bullets, and the women cowering in shock are all cut close to each other. Even though these events would have happened at the same time, Tykwer chose to show them all in separate shots to give the scene more intensity. After the shots are fired, the cuts are spaced slightly further apart allowing viewers to recover after a climactic moment. The editing of this scene was used to create a scenario in which a conflict can unfold in a dramatic yet understandable way. It also added a growing sense of intensity where the character's expressions remain the most important part of the shots. This rhythmic editing has been described as a characteristic element of the energetic film. An equally effective use of editing in the Grand Budapest Hotel train scene allows the viewer to follow the tension that is created. Several "point of view shots" bring the scene's three prominent characters into focus and allow the viewer to experience each character's nervous expression. This oscillation between "comedy and tragedy" is a device commonly used by Anderson to make his films more captivating. These shots also bring a comedic element to this scene. The "point of view" shots show each character's hesitation to act first. The use of montage presents the performance in a childish and humorous way. Anderson and Tykwer's unique editing styles allow them to emphasize other elements of the scene that heighten excitement, such as dialogue and the actors' expressions. The direct performance of the actors within these scenes sets the tone and engages the audience. The close-ups that clearly frame the faces of the actors in both scenes are what allows theactors to provide captivating experiences and instigate the sense of growing suspense. In the Grand Budapest Hotel, the stylized performance is one of the ways in which the intensity of the scene is tempered by a touch of humor. The actors' operatic expressions imply that the purpose of this scene is to heighten tension and excitement. The rapid and obviously exaggerated eye movements of Gustave, Zero and Corporal Muller in their consecutive close-ups add hilarity to the scene. The performance of these actors is sophisticated. They are able to portray both the seriousness and the absurd comedic nature of this scene and the rest of the Grand Budapest Hotel. The facial expressions and body movements of the actors are reminiscent of a theatrical performance. The combination of this and the more serious elements of this narrative moment is an example of the way Anderson uses "contradictory devices" to create engaging moments within his films. Run Lola Run features stylized acting in the opposite direction. In this scene Lola, played by Franka Potente, is extremely reserved considering she broke into a bank and has a gun pointed at her father's head. The subtle elements of her performance, such as the sharp, calculating eyes and strong, defiant body movements, suggest an uncontrollable force within this young girl. Her performance puts the audience on edge as she seems to be too controlled and could explode into an emotional frenzy at any moment. He takes a deep breath and exhales shakily. This works in conjunction with increasing suspense to mimic the growing tension the viewer feels. He has a furrowed brow and an intense gaze fixed on his father. After shooting and missing his father's head, his hardened expression barely falters, leaving the audience with no sense of relief after the climactic moment. This performance by Potente is an example of one of the engaging elements of this film, the strength and determination of the central character, Lola. The performances of the actors within these scenes are effectively complemented by the sound elements which provide an immersive experience. The incorporation of sound within these two scenes is a crucial part of conveying the tones of the two scenes to the audience. Sound plays an important role in creating the energetic nature of Run Lola Run. The non-diegetic music track gets slightly louder as the scene's tension builds and fades only to the sound of the characters' dialogue. This increasing volume is an effective way in which Tykwer used sound to alter the audience's emotions and heighten their anticipation. The emphasized sound of Lola pulling the trigger and the loud gunshots with the rising tempo music add to the chaotic conflict of the scene. Tykwer is known for his impressive use of music and sound in his films to connect audiences to characters and plot on an emotional level. In this scene he uses usually "dispassionate", fast-paced electronic dance music and connects it to the increasing drama of the scene and the protagonist's growing frustration to draw the audience deeper into the suspense of the film. Sound, both diegetic and extradiegetic, is also an important way in which Anderson captivates the audience in this Grand Budapest Hotel scene. The non-diegetic music is haunting and reminiscent of a military band. The obvious connection between the music and the soldiers enhances the comedic element of this scene. In conjunction with the cuts between the three close-ups of Gustave, Zero and Corporal Muller, there is a strong orchestral sound that emphasizes the tension inside the carriage and adds suspense in an ironic way. The use of diegetic noises, a train whistle and an opening door..