An example of this is the introduction of Shaun’s flatmate, Pete, who enters the frame when Shaun adjusts his bathroom mirror.
They are done is such a way that allows him to maximize comedic effect, in a situation that doesn’t necessarily invite this sort of reaction. Another trope of Wright’s directing is how characters are brought into a scene and the way in which these reveals are executed. By posing this question, the film not only secures a certain amount of audience investment, but is also creates social commentary on how we abide by the system of modern society and go about our daily lives as if we were zombies. This creates ambiguity as to whether they are already zombies. The people depicted in these shots are made to look as if they’re simply going through the motions- almost a little too routinely. While Wright is giving us a wide-scope of the film’s world, he is deliberately doing it in a way that looks abnormal. Used sparingly, these shots can provide breathing space within a particular scene however, in this case, they are used frequently- to the point of looking unnatural. These produce a slightly surreal atmosphere that arouses viewer suspicion. Wright continues to keep the viewer off balance with the number of objective shots scattered throughout the opening sequence, most of them from either the front or side-on. This is the first of many occasions in which the film defies our expectations and forces us to reassess the way in which we approach the film. What we’re seeing here is Edgar Wright’s love of, “getting into a scene late and leaving early,” being put into practice, with close-ups being an effective method of achieving the desired effect. Rather than ease us into the scene with a more traditional establishing shot, Wright drops us straight into a tight and uncomfortable situation, with plot threads already in motion. Shots like this “show details of a person…perhaps indicating the nuances of a character’s feelings or thoughts.”(Corrigan and White 109) Experiencing this level of engagement with the main character from the outset throws off the audience and sets the tone for rest of the film. The film immediately opens on a close-up of the film’s main character, Shaun (played by Simon Pegg) as he gazes absently into the camera, not quite making eye contact with the viewer. Wright takes advantage of this by using these clichés in ways that we might deem unconventional, and therefore unexpected. These are typically be based on either marketing or parallels and clichés we’ve established from our previous film experiences. As the viewer, we tend to go into movies with pre-determined expectations.
This is indicative of the film’s unpredictable, yet humorous tone. Throughout the opening sequence, Wright uses a variety of different camera shots and angles to unsettle the viewer and keep them on their toes.
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