Spring Breakers 'everytime' Scene Analysis 7230n

Student Name: Jack Richards Student Number: Q12954543

Spring Breakers – ‘Everytime’ Scene Analysis Spring Breakers is a 2012 movie written and directed by Harmony Korine. The film follows a group of university aged girls as they embark on a journey of self discovery through criminal means while on spring break in Florida. Roughly halfway through the movie, the girls cross paths with a criminal turned rapper, Alien (Played by James Franco). I will be exploring the ways in which cinematic techniques, particularly mise-en-scene, cinematography and contrapuntal sound, are used to create meaning and evoke emotion within the film. I will be focusing on a scene where the girls and Alien sing Everytime (2003) by Britney Spears, which then transitions into a montage of the group committing crimes, using the song as the soundtrack to their debauched actions. The scene takes place from 01:03:52 to 01:08:18.

Throughout the film, Korine places a lot of emphasis on crafting a surrealist, neon coloured landscape for the characters to live in. To do this, he enlisted the help of cinematographer Benoit Debie, most notably known for his work with Gaspar Noe on films such as Enter the Void. Debie was chosen, perhaps due to his experience working with bright unnatural colours to create a wholly original feeling world. The scene opens with a medium shot following the girls as they exit Alien’s house and walk onto the back deck where Alien sits. Instantly in this first shot, the visual language of the film is communicated to the audience: The neon colouring and handheld camera work combining to place the audience in the mind state of these characters. The girls, purposefully indistinguishable from each other, save for the neon colour of their shoes, are dressed in hot pink ski masks, emblazoned with cartoon unicorns. Traditionally, unicorns have been a symbol of childhood naivety and playfulness however, when emblazoned on ski masks used to commit violent acts, the image of a unicorn takes on a much more threatening connotation.

The sky is a burnt orange, reflecting off of the glass door and reducing the characters to a group of silhouettes. In a handheld long shot, the girls march regimentally toward Alien, revealing the shotguns in their hands to the audience. By having the girls march like soldiers, Korine is instantly communicating to the

audience the attitude the characters have toward their newfound, violent lifestyle; They’re treating it like a job, a duty they have to perform. The juxtaposition between the outwardly juvenile appearances of the girls and their militaristic demeanour creates an uneasy feeling amongst the audience, subverting expectations and making it more difficult to anticipate what may be coming next. When we cut to Alien, it’s a close up. The camera shakes slightly as it struggles to hold focus on him, highlighting the character’s instability. Silently, the power dynamics between the characters are communicated to us. Whereas the girls had to share the frame, Alien is allowed the whole screen to himself. The hue of the lights turns his skin an unnatural shade of pink mimicking that of the girls’ ski masks. By lighting Alien in such an unnatural fashion, Korine and Debie are letting the audience know that he is not a character who should be trusted; the very hue of his flesh twisted to reflect the aesthetics of those around him. The neon pink draped across his face highlights his eyes, more specifically the bags underneath them. Whereas Alien is portrayed to be a man who approaches every instance cool and collected, these bags let us know that this is in fact a façade – The drooping eyes a symptom of his keeping up of the façade and drug abuse. His bottom lip hangs open slightly, revealing a silver grill in his mouth, letting us know that he’s not only wealthy, but eager to flaunt his wealth. “Since fashion is a mode of self-expression and aspiration, much like music, it is a powerful weapon to symbolize social class, success and wealth.” (Romero, 2012, p.10).

As the scene moves on, Korine pulls back to reveal the rest of the location. Alien is sat at a large ivory white piano, yet another instance of him flaunting his wealth. The girls reach the piano and crowd around Alien expectantly. Shot from a low angle, the shot displays the four of them together, seemingly on top of the world. Behind them, the sun sets, sending shades of pink and orange across the horizon, the handheld shake letting us know that, perhaps this lofty position is more precarious than the characters know.

Throughout the scene, a shallow depth of field is used almost exclusively. This is used to increase the druglike feel of the film, allowing the audience to feel how the drug addled protagonists might. The shallow depth of field makes it so we are unable 2

to focus on multiple things at once which, when combined with fast paced editing, creates a jarring, unclear image of what is happening. The combination of the shallow depth of field with the neon colour grading causes the colours in the background to fade into each other, creating an almost expressionist backdrop for the actors to perform against. The absence of recognisable landmarks in the blurred backgrounds creates an illusion of the characters floating as they dance along to Alien’s rendition of Everytime, further instilling the hazy, uneasy feeling in the audience. As Alien sings, the diegetic sound of his performance is swiftly exchanged for the non-diegetic sound of Britney Spears’ original rendition of the song. The initial performance of the song is little more than a conduit to the main focus of the scene: A montage set to the song, displaying the protagonists committing a series of violent crimes, directed toward fellow tourists and ‘spring breakers’ like themselves. This use of contrapuntal sound creates a significant disconnect between the audience and what they are seeing on screen, setting an uneasy, almost comedic tone. Throughout Korine’s career the twisting of pop culture iconography to reveal the dark underbelly of society has been a recurring theme. In Gummo (1997), Korine employs the motif of cowboy costumes (Figure 1), worn by the underprivileged, to display how images and iconography can influence those in need of guidance toward a darker lifestyle. 10 years later, Korine produced Mister Lonely (2007), which follows a group of celebrity impersonators living on a secret island together, attempting to lose themselves in the personas they have decided on (Figure 2).

Figure 1

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Figure 2

In this scene, Korine pushes these themes of pop culture and its dangers to the forefront. By combining the music of Britney Spears, an undeniable pop culture icon, with images of shocking violence, the two are inextricably linked in the audience’s minds. As Alien and the group of faceless girls pistol whip and threaten innocent people Spears sings “And every time I see you in my dreams/ I see your face, it's haunting me/ I guess I need you baby”. The lyrics, originally referencing a romantic interaction, have been co-opted and adapted in order to communicate vital information to the audience regarding the characters and their relationships to one another. By this point in the movie, the characters are so co-dependent, both financially and emotionally, that they are willing to commit atrocities in order to satisfy each other. In order to convey the characters’ drug addled mind states to the audience, Korine employs the use of a non-linear editing style. Fragments and shots from elsewhere in the movie appear for a moment, mimicking the fleeting nature of memory (despite the fact these glimpses are not always from the past chronologically). The effect of this editing style is to accentuate the unbelievability of what we are seeing on screen, transforming the locations of the movie, when combined with lighting “the colours of skittles” (Calhoun, 2013, Online), into a series of surrealist landscapes. In an interview with Dazed, Korine described this editing style as “liquid narrative”, comparing it to the looping of samples in the production of pop music. (Brown, 2013, Online). This reference point for Korine’s editing process helps to further drive home the themes of pop culture and its dangers.

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Bibliography •

Brown, S., 2013. Harmony Korine, Online: Dazed, Available from: http://www.dazeddigital.com/artsandculture/article/15870/1/harmony-korine

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Calhoun, D., 2013. Harmony Korine: ‘I still feel like a kid’, Online: TimeOut, Available from: https://www.timeout.com/london/film/harmony-korine-i-stillfeel-like-a-kid

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Enter the Void, 2009 [Film]. Directed by Gaspar Noe. : IFC Films

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Everytime, 2003 [Song]. Performed by Britney Spears. USA: Jive Records

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Gummo, 1997 [Film]. Directed by Harmony Korine. USA: Fine Line Features

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Mister Lonely, 2007 [Film]. Directed by Harmony Korine. USA: ICA Films

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Romero, E., 2012. Free Stylin: how Hip Hop changed the fashion industry. Santa Barbara, California: Praeger

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Spring Breakers, 2012 [Film]. Directed by Harmony Korine. USA: Annapurna Pictures

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Spring Breakers - Everytime scene

Transcribed by Jack Richards

EXT. ALIEN'S BEACH HOUSE/BACK DECK - SUNSET SFX: A gun cocking. (O.S.) The tinkle of piano keys. Three girls: CANDY, BRIT & COTTY walk through the sliding patio door onto the back deck. Each of them is wearing the same outfit: A pink-ski mask, a psychedelic bodysuit and a pair of tracksuit bottoms with the letters "DTF" emblazoned on the buttocks. The only feature distinguishing them from each other is the neon colouring of their trainers. Though it's hard to distinguish between them, we get an idea of who they might be through the glimpses of their flesh. They're young adults, no older than 22. They each carry a heavy GUN: One assault rifle and two shotguns between them. Militantly, the trio march over to ALIEN, who sits at the PIANO. He's a man, early thirties, Caucasian. His fair hair has been twisted into cornrows, his pale skin covered in tattoos. He leaves his mouth agape slightly, revealing a shiny, gold grill. The neon pinks of the setting sun reflect off of his topless torso, creating the illusion of him glowing. The girls reach the piano and sling their guns over their shoulders: They're comfortable with these tools. CANDY Play something. ALIEN What y'all wanna hear? CANDY Play something sweet. Something uplifting. Alien contorts his face into one of surprise. It's clear that he was expecting a less delicate request. ALIEN Something sweet and uplifting, huh?. BRIT Yeah, play something inspiring.

2. ALIEN (Playful) Oh, y'all wanna see my sensitive side. A wave of excitement comes over the girls as they realise they're going to hear their request. COTTY Sure do. (Beat) Play something fuckin' inspiring. ALIEN Alright, this one is by a little known pop singer by the name of miss Britney Spears. Alien looks to the girls for approval, a slight smirk on his face. ALIEN (cont'd) One of the greatest singers of all time... and an angel if there ever was one on this earth. Alien launches into his own rendition of the song. His fingers glide across the piano keys, hitting all the right notes. The girls watch on. ALIEN (cont'd) (Singing) Notice me, take my hand, why are we strangers when... As Alien sings, his facial expression changes. His smile drops and his eyes close gradually as the song overtakes him. ALIEN (Singing) Our love is strong, why carry on without me... Everytime I try to fly, I fall without my wings, I feel so small, I guess I need you, baby

GIRLS (Singing) Our love is strong, why carry on without me.. Everytime I try to fly, I fall without my wings, I feel so small, I guess I need you, baby,

Cotty turns away from the piano and, holding her shotgun high above her head, twirls performatively.

3. The voices of Alien and the girls fade out and are replaced by that of BRITNEY SPEARS and the original version of the song: EVERYTIME. BRITNEY SPEARS (V.O.) (Song) And everytime I see you in my dreams, I see your face, it's haunting me... The girls pose together for Alien as he performs. We're unable to see their faces still, but they twirl their hair between their fingers and lean on the piano. We can see the adoration in their eyes through the holes in their skimasks. Brit and Candy break off from Cotty. They face each other and sway in time with the music. BRITNEY SPEARS (V.O.) (cont'd) I guess I need you baby... SLOW-MO: All three of them lift their guns high above their heads and dance. They spin and twirl against the backdrop of the shimmering ocean. The piano melody continues on. SLOW-MO: The girls continue their twisted ballet recital. Everything is out of focus: Both the girls and the burnt orange sky behind them. The three of them blend into each other as they cross and zig-zag past each other. DISSOLVE TO: INT. MOTEL ROOM - DAY BRITNEY SPEARS (V.O.) I make believe... SLOW-MO Alien marches into a small, drab motel room. He holds a PISTOL out in front of him, a menacing smile plastered on his face. Brit, Candy and Cotty follow closely behind. They're wielding heavier weapons: Shotguns and assault rifles. Through their ski-masks we can see them yelling at the two HOLIDAY GOERS in the room, but we are unable to hear what they're saying.

4. The holiday goers, 3 young, white males dressed in board shorts and neon t-shirts jump back in fear when they see the entourage enter. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) That you are here... One of the girls points her shotgun at the holiday goer, who is now face down on his bed. We can see Alien's trainers either side of him. CUT TO: Alien jumps on one of the beds. He holds his pistol next to him, a crazed smile erupting on his face. His braids swing back and forth as his legs collapse up and launch down. He looks like an excitable child. The girls follow in his footsteps, opting to jump on the mattresses either side of Alien. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) It's the only way, I see clear... Alien forces the head of a holiday goer into the bed. He keeps his pistol pointed at the victim the whole time. Next to him, Cotty straddles another holiday goer's head. She presses the barrel of her pistol into the base of his skull. CUT TO: EXT. ALIEN'S BEACH HOUSE/BACK DECK - SUNSET SLOW-MO BRITNEY SPEARS (V.O.) What have I done?.. Brit, Candy and Cotty dance in jubilation. The sky behind them is bright pink. Two of them reach up and grab each others' hands. BRITNEY SPEARS (V.O.) (cont'd) You seem to move on easy... They grin through the ski-masks. CUT TO:

5. INT. ARCADE - DAY SLOW-MO BRITNEY SPEARS (V.O.) And every time I try... Alien, Brit, Candy & Cotty aim their guns at a YOUNG COUPLE (Late teens, black). The girl turns to see Candy aiming her gun at her and screams in terror. CUT TO: Alien lifts his pistol high and aims down the corridor. BRITNEY SPEARS (V.O.) (cont'd) To fly... ALIEN (Drowned out by the song) Get the F---CUT TO: Alien grabs another HOLIDAY GOER (Late teens, blonde) by the back of her head and pushes her to the ground, his pistol trained on her constantly. BRITNEY SPEARS (V.O.) I fall without my wings... He turns, whips his pistol round and yells something we can't hear. BRITNEY SPEARS (V.O.) (cont'd) I feel so small... CUT TO: Alien stands, wide-stanced, his pistol pointed down at someone out of frame. He grins at them. Next to him, Brit juts her shotgun down at the target in an aggressive manner. BRITNEY SPEARS (V.O.) (cont'd) I guess I need you, baby... CUT TO: EXT. ALIEN'S BEACH HOUSE/BACK DECK - SUNSET SLOW-MO

6. ALIEN (Singing) And every time I see you...

BRITNEY SPEARS (V.O.) And every time I see you...

Alien plays the piano and sings to the girls. We're still unable to hear his voice, just the original rendition by Britney Spears. The girls lean on the piano and watch in adoration. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) ...In my dreams, I see your face, you're haunting me... The three girls continue to dance against the waning sun. Brit lifts her gun as if to threaten her colleague before flipping it back into both hands and continuing with the routine. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) I guess I need you, baby... Alien's tattooed hands dance across the piano keys. He bites his lip in concentration as his head bounces subconsciously with the beat. CUT TO: INT. WEDDING HALL - EVENING SLOW-MO BRITNEY SPEARS (V.O.) I may have... The entourage terrorise a WEDDING RECEPTION. Cotty yells down at a SUITED MAN. She points up at her eyes - "Look at me." Behind Cotty, Brit forces another SUITED MAN to his knees, using the barrel of her shotgun to threaten. Next to Brit, Candy snatches the watch from yet another SUITED MAN. She slinks her gun casually down by her side. In the background, Alien struts his way through the hall. He's topless, his braids bouncing with the steps. His pistol stays glued to his hand.

7. CUT TO: INT. MOTEL ROOM - DAY SLOW-MO ECU: HOLIDAY GOER BRITNEY SPEARS (V.O.) Made it rain... Alien forces the Holiday goer's face into his mattress. Multiple pistols are pressed to his head from every angle. CUT TO: INT. WEDDING HALL - EVENING SLOW-MO BRITNEY SPEARS (V.O.) Please forgive me... Brit stands over a WOMAN (Mid-20s), laid out on the floor. She's wearing a delicate pink dress. Brit aims her shotgun down at the Woman's head. We can see her yelling but we don't know what she's yelling. The Woman screams in terror. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) My weakness caused you pain... Alien grabs a WEDDING GUEST and hauls him over to the wedding cake. The ATL TWINS (20s, skinny, pale) keep their guns trained on the wedding guest. Alien grabs the Wedding Guest by the back of his head and, keeping the pistol pressed to the Guest's temple, forces the Wedding Guest's head through the wedding cake, instantly destroying it. He wrenches the Guest's head out of the cake, sending icing flying across the room. Alien grimaces as he continues to threaten his victim.

8. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) And this song's my sorry... Alien plants his foot on the, now laid down, Wedding Guest's shoulder and rolls him over to face up. His pistol is aimed at the Guest's face. A smear of icing remains on Alien's torso. Behind Alien, one of the ATL Twins leaps up and down in ecstasy. CUT TO: EXT. ALIEN'S BEACH HOUSE/BACK DECK - SUNSET SLOW-MO Cotty, Candy and Brit crowd around the piano to watch Alien finish his rendition of the song. Their pearly white smiles are visible through the holes in their ski-masks. They cradle their guns affectionately. CUT TO: In front of the piano, Brit, Candy and Cotty dance in a circle. They're performing a 'ring a ring o'rosies' style dance, holding onto either end of each others' guns rather than holding hands. Alien watches on and smiles to himself. He looks proud. CUT TO: INT. MOTEL ROOM - DAY SLOW-MO BRITNEY SPEARS (V.O.) At night I pray... CU: ALIEN Alien aims his gun at the camera. The sun shines in through the window behind him, flaring out. He grins, revealing the grill in his mouth. CUT TO:

9. BRITNEY SPEARS (V.O.) (cont'd) That soon your face will fade away... Alien grabs one of the Holiday Goers by the hair. He's been tied up and left on his front. Alien wrenches his face to look up and yells at him. Alien lifts his pistol high in the air and, in one swift motion, swings it down into the captive's face. BRITNEY SPEARS (V.O.) (cont'd) And every time I try to fly I fall without... As the pistol whip connects, the Holiday Goer sprays blood from his mouth and onto the laminate floor below. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) My wings, I feel so small, I guess... Alien places his arms around the shoulders of Brit and Cotty as they stroll through the room. Candy walks behind them. They look exhausted, yet proud. CUT TO: BRITNEY SPEARS (V.O.) (cont'd) I need you, baby, and every time... The four of them sit at a TABLE, each smoking a BLUNT. For the first time, the girls aren't covering their faces up with ski-masks. The masks are rolled up, revealing the girls' youthful faces. CU: CANDY Candy holds her gun upright as she puffs on her blunt. BRITNEY SPEARS (V.O.) (cont'd) I see you in my... CU: BRIT Brit turns to look around the room and exhales a cloud of smoke. BRITNEY SPEARS (V.O.) (cont'd) dreams, I see your face...

10. CU: COTTY Cotty leans with her elbow on the table. She takes a puff of her blunt, narrowing her eyes as it hits her. BRITNEY SPEARS (V.O.) (cont'd) You're haunting me... CU: ALIEN Alien leans his head against his hand. A blunt hangs from his mouth. He inhales deeply and wraps his fingers around the blunt. BRITNEY SPEARS (V.O.) (cont'd) I guess I need you... CUT TO: The three Holiday Goers are tied up, left face down on top of a bed. BRITNEY SPEARS (V.O.) (cont'd) Baby... CUT TO: CU: ALIEN Alien exhales smoke, momentarily obscuring his face. When the smoke clears, we get a good look at Alien's expression. He's spaced out, his jaw swinging. He looks almost sad. ALIEN (V.O.) (Whispering) Spring break... SFX: A pistol cocking. CUT TO: EXT. ALIEN'S BEACH HOUSE/BACK DECK - NIGHT Alien, Brit, Candy and Cotty stand at the water's edge. They hold their guns up in the sky. BLAM! BLAM! BLAM!

11. They all pull on their triggers, repeatedly releasing rounds into the sky. ALIEN (Yelling) Spring break bitches! The group shriek with excitement.