Week 25.12 - Socials Roundup
Posts from 17 Mar - 23 Mar 2025
Week 25.12 posts include shots from Agatha All Along (2024); Sherlock, Jr. (1924), Apple Cider Vinegar (2025); Arcane (2021-2024); and The Nest (2020).
Agatha All Along
This may be on a smaller scale than others we recently covered, but we do reaaaaaally love a live lighting change!
and we love even more when enough attention and experimentation (and actor stamina) is applied that you can see the glint of the eyes even in darkness!
Sherlock, Jr.
The Projectionist (Buster Keaton) in Sherlock, Jr. wants to kiss The Girl (Kathryn McGuire) but isn't sure how . . . until he does what many of us do, and look to the big screen.
The film-within-a-film shows orchestra and audience in shot, and the reverse does two key things to underscore how The Projectionist and The Girl are movie characters: t frames them within the projectionist window as reminiscent of the movie screen, and it places them in the approximate same place on screen as the larger-than-life characters whose actions they are mimicking.
Apple Cider Vinegar
Falling down stone steps is a stunt, so in order to get the emotional impact of Lucy (Tilda Cobham-Hervey) falling without too-significant added cost and time, director Jeffrey Walker uses creative framing which also makes the most of the steep stone step setting.
The first section of the scene is angled steeply up at Lucy and Justin (Mark Coles Smith). When it’s time for the fall, actor Tilda slumps out of frame, then the cut to her falling is a dramatically different high angle where she (or a double) can safely fall to the ground from only a few inches high.
The Nest
The Nest involves several arguments between Rory (Jude Law) and Allison (Carrie Coon). These scenes all escalate differently, and are shot differently (alternating wides, a oner, a variety of mediums and closeups), but the way they start sets the characters (and us) up for a fight.
1. Rory and Allison standing alone and small in an immense empty space; they are physically proximate, but the shots separate them as much as possible.
2. Pretending to communicate in their bedroom, with Allison's face in darkness and Rory's face lit but their bodies turned as far from each other as physically possible.
3. Rory and Allison out to dinner, sitting across from each other with the waiter's body dividing both them and the frame.
4. Squaring off in a darkened sitting room, Rory trying not to look at Allison as she stands as far from him as she can get and the room / frame allows.
5. Out to dinner again, now next to each other but with one of their dinner companion's body still dividing them.
Arcane
Arcane 2.05 "Blisters and Bedrock" creates this Bergman-esque shot as Mel faces off with someone she believes to be her presumed-dead brother Kino.
