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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
Joined July 2022
Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)Photo by Shot Zero (@_shotzero)
Happy #Noirvember to all who celebrate! We've got plenty of murder and sleaze and Detectives With Their Own Code and such coming up, but here's a throwback: 1/2
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Similarly to our earlier post this week on What A Way To Go, the pink-on-pink-on-pink sets and set dressing and props of The Grand Budapest Hotel (2014) makes the characters’ faces POP that much more.
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#Noirvember is in full swing, just like the subject of today's deep dive . . . SPIDER-NOIR! We look at how the gorgeous title sequence by Digital Kitchen encapsulates the show's themes, gives backstory, and goes a bit James Bond, all in 90 seconds. buff.ly/XcVt4kq
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SERPICO (1973) - directed by Sidney Lumet. How are Al Pacino and Cornelia Sharpe both in focus when everything around them is going all blurry? What could create this kind of visual effect? There should be an alert for shots like this.
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Prince Prospero (Vincent Price) keeps several rooms of different colours because . . . well when you’re that filthy rich and also not a great person, you need excuses to spend money so you don’t have to ‘waste’ any on other people. #MasqueoftheRedDeath 1/2
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#MasqueoftheRedDeath 2/2 Prospero has the money to make everything from the walls to the accessories one single colour, and for staff to keep the candles burning around the clock, even though the rooms are merely used to walk from one place to another.
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Shot Zero retweeted
I think about this scene all the time in terms of timing and restraint. The less it does, the longer, the more unnerving.
i can’t imagine how shocking this scene must have been for audiences back then. pure coldness
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insanely effective, partly bc it brings in images we'd already seen, even if we hadn't fully registered their importance . . . until this full breakdown: shotzero.substack.com/p/edit…
I thought VLC was bugged for a good 30 seconds before I realised what was going on. Danny Boyle isn't like other filmmakers.
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Am I insanely proud of this @_shotzero tagline? Yes. Is that deserved? You tell me. shotzero.substack.com/p/how-…
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Shot Zero retweeted
Replying to @_shotzero
Here's a really cool shot from Won in a Closet (1914), directed by and starring Mabel Normand
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In TOYKO DRIFTER, a yellow piano, yellow set wall, yellow staircase, and yellow lights, make the green dress and red lamp fixture pop that much more. When another character walks into the yellow room, his red suit stands out starkly.
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What a Way to Go really does COLOUR! Like this extended gag where an entire house is painted pink, only for Louisa May Foster (Shirley MacLaine) to swan into it in stark skin-and-bikini contrast . . . and then soon after, widows weeds.
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As every year, we are celebrating #Noirvember! Starting with a closer look at twin sisters, a gun, and a piñata in this Mexican fairy tale noir La Otra. shotzero.substack.com/p/how-…
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Nunca había reparado en algo tan evidente. Contrasta y dialoga con los créditos de '¿Qué he hecho yo para merecer esto!!'.
In Roger Ebert’s 4-star "Volver" review he notes how the camera establishes past versus present day, then combines them, in this scene: "In exemplary classic style, Almodovar uses a right-to-left tracking shot to show this housekeeping carrying us back into the past . . ." 1/2
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Voices of Disney villains, in the flesh.
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#Noirvember Character Introductions 2/2 This scene from The Postman Always Rings Twice clearly foreshadows the fate of John Garfield's protagonist within the first few seconds of sighting his femme fatale. buff.ly/tX0dWHL
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If I Had Legs I’d Kick You uses a red colour wash in several scenes where Linda (Rose Byrne) is with her daughter, and blue and green washes in several scenes when Linda is alone, usually smoking outside. 1/2
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If I Had Legs I'd Kick You 2/2 The juxtaposition visually represents the way Linda is trying to carve out her own time and place. (further breakdown and photos on the substack)
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I never even considered that it wasn’t enclosed like an actual elevator
breaking the third... and fourth... walls of this moment
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The crux of these two distinct colour washes is how the entire tone of the scene shifts in a split second - just as Jacob hits his angry note, the colour wash changes from cool blue to HOT PINK!
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