Film Techniques In Good Will Hunting

Good Will Hunting is a story about a young man’s struggle to find his place in the world by first finding out who he truly is.

Matt Damon plays a character by the name of Will Hunting, who is a troubled genius with an astute awareness of the depth of the human soul. The movie is a journey through the mind of Will as he is forced to undergo therapy instead of jail. With the help of a psychologist by the name of Sean, who is played by Robin Williams, he discovers himself and realizes what his value in the world is by understanding what really matters to him the most.

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The directing from Gus Van Sant together with the writing from Matt Damon and Ben Affleck (who plays Chuckie, Will’s best friend) combine well to showcase technical aspects that bring to mind emotion and empathy. The use of these mise-en-scene aspects create a different view of the film, showing significance behind scenes, and connect it with feeling and emotions through the compositional techniques.

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Van Sant does a superb job in this film with his implementation of several creative techniques to tell a story that might otherwise cause the viewer to lose interest. The use of certain film elements gets the more out of the film and captures the audience’s attention. This style would appeal to the audience, helping them view the film in a different way, connecting them with feelings and emotions. The final scene of the film leaves the audience with a cliffhanger, and what the film does is not give you the answer, but makes you figure it out, much like how Will did throughout the film. Therefore, creating a wonderful sense of empathy for Will Hunting, much like the different film techniques used by Van Sant.

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The focus on compositional techniques through elements of angles, color, shots, film distortions, editing and the use of camera movement causes viewers to change the way they think and view the film. The audience can then make connections to characters in a way that makes them discern scenes and understand it like they were involved in the film. A good example would be the director’s use of natural colors like warm ambers to create a sense of humanity and that allows the audience to empathize for Will. Throughout most of the movie, very natural colors are used. Van Sant’s use of warm ambers is an inventive way to create a sense of humanity and creates a strong sense of empathy for Will. Whenever Will is in a place he feels safe and comfortable, the colors are very warm and inviting. For example, when he is in Skylar’s (Minnie Driver) room at Harvard, or in Sean’s (Robin Williams) office, or his apartment, the dominant color is amber. This creates a wonderful sense of warmth and the viewer realizes at these times Will isn’t wearing any masks. He is being himself because he feels safe in these situations. The times when Will is in a place where he is hiding within himself, or doesn’t have that safe feeling, Van Sant does a very noticeable color shift to the cold colors, such as blue and white. This creates a sense of manipulation and unrest. It is very impersonal.

One example is Will’s first meeting with Sean. He is looking at a painting that is hung on the window and as he is looking at it, he is analyzing its artistic value and Sean’s life. The closer he gets to the painting, the colder the light gets until the end of the monologue when he is right in front of it and the sunlight creates this look that is very similar to an overexposed photograph, which causes Will to look very surreal, and frightening. It’s a great moment of a complete shift in mood within a shot. The coldness of the shot creates a feeling of calculation and the viewer can understand how Will lashes out when in a situation he doesn’t feel comfortable with.

Van Sant makes very strong statements with his use of camera angles and shots. His use of mise-en-scene is beautiful. Each scene is carefully crafted, even when it appears to be very spontaneous. There are some great examples of good camera work in this movie. Another example is the scene with Will and Sean at the pond. Sean has a gorgeous monologue in this scene and through almost the entire thing, the only shot is an eye-level close up on Sean. It stays on him until he begins talking about love, then the camera very slowly, staying at eye-level, pans to include Will in the shot. This effective technique creates the idea that Will is slowly being exposed by Sean’s words. Another example with Will and Sean is the scenes in Sean’s office. During most of the movie, Van Sant uses eye-level medium two-shots during these scenes. Will and Sean are never in the frame together, until the end, after Will’s breakdown, then the mise en scene includes both of then, using a full shot. This clearly identifies the progress of the relationship. It takes Will a long time to trust Sean. Van Sant’s manipulation of the shots in these scenes truly creates that sense of coming together. Yet another example of strong camera work is Will’s scenes with Skylar in her room. Van Sant’s use of close-ups and extreme close-ups gives the viewer a sense of voyeurism, as if we were in the room with them. This is an excellent technique for this movie because it creates an incredible sense of empathy for these characters. The closeness of the camera gives the viewer closeness to the characters.