As you can see, I'm changing it up and going off the beaten path. Today's clip has a couple moments that are great examples of capturing exciting kinetic energy. I can imagine that this director, Len Wiseman, was a fan
I think by now we probably take this opening for granted, not stopping to appreciate how much good storytelling is crammed into this one "silent cinema" shot. (But when you see the prequels, you realize with stunning clarity just how
The stuff I found for today's post is awesome, complete with multi-media bonus features that really demonstrate the brilliance of Scorsese's work here. (As with Spielberg, I could fill an entire blog just with shots by Scorsese.)
Often times when a
Tom Hooper (masterful director of HBO's His Dark Materials, which in fact does not use these types of negative-space compositions) got a lot of use of oblique camera angles in this movie as well as in HBO's John Adams. In
Of course not all incredibly effective shots are oners. This one is the culmination of a series of shots masterfully edited. And you can't talk about masterful editing without talking about David Lean. He began his career as an editor
If you haven' seen it, enjoy; in short form, the nurse station scene still works brilliantly. And if you have seen it already, maybe you've forgotten just enough. I've been startled by this more than once.
David Lean always said, in
Nothing beats, in terms of performance & overall impact, this amazing single shot from Paper Moon. It's a simple thing -- on the surface -- but took Bogdanovich a grueling day and half to get this short scene.
The little girl,
I know, I know, why this movie? Because this shot from ALWAYS, a minor film not highly regarded by most, is so amazing - a little treasure in a film filled with bravado staging and camera work, but otherwise mostly