Shot Zero

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Shot Zero

Shot Zero

@_shotzero

We talk about shot design - because shot design isn’t just how it looks and feels, it’s how it works. || Produced by @stuwillis & @mehlsbells and @draft_zero

Melbourne / Naarm Katılım Temmuz 2022
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Shot Zero
Shot Zero@_shotzero·
Revisiting our thread about #TheMummy's bookcase stunt, and re-digging up this BTS insight, is such a treat!
Ian Jeffrey Martin@IanMartin007

@_shotzero @RWWFilm I worked on this film and this was a 1 take shot. We filled those bookcases with 10,000 real books, a buttload of fake books and a forests worth of loose paper. The bookcases were rigged with hydraulics to make them rise and fall but the bookcases were destroyed during the take.

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Shot Zero
Shot Zero@_shotzero·
#AnEducation 3/3 The shots underscore what’s going on under the shiny, socially-accepted surface, as Danny compares David to a lumbering, old, stuffed animal.
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Shot Zero
Shot Zero@_shotzero·
#AnEducation 2/3 As Danny draws our attention to the animal, then speaks 'for' and responds to it — “He wants to kiss you. That’s revolting!” — the next shots are of David, or with David and the armadillo framed in close proximity.
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Shot Zero
Shot Zero@_shotzero·
An Education is about an older man David (Peter Sarsgaard) seducing schoolgirl Jenny (Carey Mulligan), while charming or strong-arming everyone around them into thinking his behaviour perfectly acceptable. Here, Danny (Dominic Cooper) lifts a taxidermied armadillo into frame...
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Shot Zero
Shot Zero@_shotzero·
Just your average establishing shot, a wide of New York from high on some building, or other, shot by second unit . . . but then it starts moving! This scene from Crossing Delancey starts as one thing, and you won't guess where it goes from there. 1/2
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Travis Woods
Travis Woods@aHeartOfGould·
OBSESSION is a melodrama in conversation with others, whose text (sub- & meta-) interrogates our imprisonment in the past (be it our dead in tombs, or our love of an old master’s film) that handcuffs us to what came before & drives us to commit atrocities beyond our understanding
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Massimo
Massimo@Rainmaker1973·
Mark Hamill explains the stop motion techniques that brought the frozen world of Hoth to life in Star Wars: The Empire Strikes Back (1980).
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All The Right Movies
All The Right Movies@ATRightMovies·
RIDLEY SCOTT talking about his use of light in BLADE RUNNER (1982).
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Shot Zero
Shot Zero@_shotzero·
Last Supper imagery pops up in plenty of TV (including our post from yesterday!), and in animation you can really play with it; such as this shot from Little Women (2002) title sequence, which replaces the ‘disciples’ faces with framed pictures crucial plot items.
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David Hering
David Hering@hering_david·
A Matter of Life and Death (1946): Yeah, it’s just the best isn’t it. Powell and Pressburger’s run in the 1940s is unearthly. You see the influence on Jarman, Greenaway, Hogg so clearly. Imagine seeing these in the 1940s-you’d think you were in heaven
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Shot Zero
Shot Zero@_shotzero·
This scene from #Monsterland is a two-fer: first, the sequence of Stanley Price (Bill Camp) shows us an instantly recognisable Last Supper tableau, before turning the shot around and using a chandelier as a ‘crown of thorns’ imagery.
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Shot Zero
Shot Zero@_shotzero·
Today we watch four scenes from 1959's THE NIGHT OF THE HUNTED, and how they motivate their dramatically swinging, blinking, and flickering lights.
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Shot Zero
Shot Zero@_shotzero·
When Clara (Anabeth Gish) walks into the room in The Haunting of Hill House 1.09 “Screaming Meemies” it’s almost a moment of suspense wondering whether she will step forward so as to be framed as the angel . . . and then, of course she does.
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Shot Zero
Shot Zero@_shotzero·
Miss any of our Iconographic Moments from last week? Allow us to run it back for you . . . well, ALL of them, and our analyses, rounded up in one place: buff.ly/ePpqVI7
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Shot Zero
Shot Zero@_shotzero·
#VeronicaMars creates Michaelangelo's “Pietà” twice in season two - in the first episode with Veronica holding Logan, and in the finale with the roles reversed.
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Shot Zero
Shot Zero@_shotzero·
This week is about creating recognisable statues and art within the frame - starting with this shot from "But I'm a Cheerleader" which very ironically poses the head of a conversion therapy camp as the Statue of Liberty.
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Shot Zero
Shot Zero@_shotzero·
What if your shots make it suuuuuuper obvious a character has POOF! disappeared mid-scene? How do you fix it? We look at this scene from #Shrinking to find out! 1/2
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