Camerawork, Blocking, and Nonverbal Cues: How a Scene From "TM7" Establishes The Dynamic For S3
A runaway meta that ... uh ... ran away from me.
Cap 10.
Cap 17.
Here’s my contribution for the 3x01 the episode prompt at ![[info]](http://l-stat.livejournal.com/img/community.gif)
spnematography. I’m not a cinematographer and it has been a long time since my university film class, so if there are misinterpretations or errors please let me know. For me these metas are for fun and an excuse to watch a show more than once. :)
I originally picked one screencap, but I found myself dissecting the entire final scene between Sam and Dean. *throws hands in the air* I’ve pretty much given up on trying to stop the meta monster so forgive me, but I’m just going with the flow here and expand on the prompt by using the screencap idea as a jumping off point for this meta. The aborted, original idea for this meta will be a separate non-episode prompt meta. But here, I’m going to discuss how the camera work and blocking in this scene augment the dialogue and highlight the shifting power dynamic and growing tension between Sam and Dean.
Here’s the scene. Take a peek at it before reading on.
Camerawork
Let’s examine how the camera angles help to tell the story, build the scene, and compliment the dialogue and Sam and Dean’s changing power dynamic.
spnematography. I’m not a cinematographer and it has been a long time since my university film class, so if there are misinterpretations or errors please let me know. For me these metas are for fun and an excuse to watch a show more than once. :)I originally picked one screencap, but I found myself dissecting the entire final scene between Sam and Dean. *throws hands in the air* I’ve pretty much given up on trying to stop the meta monster so forgive me, but I’m just going with the flow here and expand on the prompt by using the screencap idea as a jumping off point for this meta. The aborted, original idea for this meta will be a separate non-episode prompt meta. But here, I’m going to discuss how the camera work and blocking in this scene augment the dialogue and highlight the shifting power dynamic and growing tension between Sam and Dean.
Here’s the scene. Take a peek at it before reading on.
Camerawork
Let’s examine how the camera angles help to tell the story, build the scene, and compliment the dialogue and Sam and Dean’s changing power dynamic.
The scene opens with a following/ tracking shot of Bobby driving away to Sam and Dean standing at the edge of the gravel drive.
This camera shot bridges the previous scene with Tamara and the upcoming scene. It establishes the space and shows where the characters are in respect to other important scenic elements (the house, the road, the exit/highway). The camera tracks in synchrony with Bobby driving away (both move from the left side of the screen to the right), eventually falling on Sam and Dean. This camera movement mimics the same path you’d follow with your eyes if you were present, giving the shot a very fluid, seamless feel and makes it unnoticeable to the viewer. The result: visually affinity, low tension.
The camera dollys in and then out as the boys walk toward the camera [the off screen Impala]. A medium two-shot of Sam and Dean.
When the characters are lit equally and their dialogue and/or actions don’t denote dominance of one over the other (as done here), two shots are an effective way showing a neutral relationship where there’s no power play (at least not yet in this case). The zeroing in on Sam and Dean is a visual clue that says, “Hey, pay attention to these two guys, something’s about to happen.” Not that we weren’t looking at them anyway. ;) The result: a neutral power, low tension shot that narrows the attention to the two principle players.
All screencaps from![[info]](http://l-stat.livejournal.com/img/userinfo.gif)
leggyslove.
All screencaps from
leggyslove.Cut to a close-up, over-the-shoulder shot of Sam.
This begins the first series of over-the-shoulder, dialogue-heavy shots that alternate between Sam and Dean. Notice how the camera focuses on each of them as they speak instead of featuring the other person (which happens later in the scene). This is a straight forward way of shooting a conversation where what’s being said and the delivery of the lines are important. The cuts help build-up the argument by volleying the viewer back and forth between Sam and Dean as they make their points and counterpoints. Furthermore, the close-up shots allow the audience to see facial expressions, lending a sense of intimacy that’s impossible to get with medium to long shots as used in sitcoms. The result: an audience/character connection and relatively low tension that seems to be building as the power play develops.
Caps 2 &3.
Caps 2 &3.
With Dean’s words “We’re not going and that’s that” the camera cuts to a medium shot of Sam and Dean facing each other. It ends with Sam saying, “I’ve had it.”
The camera pulls away to show the actors’ physical cues which further discern the changing dynamic in the scene. Through Sam’s pleading hand gestures, Dean lightly hitting Sam with the back of his hand, and Sam grabbing Dean’s arm, we see Sam’s attitude change from hopeful insistence to irritated frustration and Dean’s move from jokingly flippant to dismissive. Watch the scene without sound and you’d still be able to discern the overall dynamic: which character is being evasive, which character wants something the other won’t give, which character grows frustrated, etc. The result: increased tension and an overt power struggle.
Caps 4, 5, & 6. If I were to sum up Sam and Dean S3 in three screencaps I would use these.
Caps 4, 5, & 6. If I were to sum up Sam and Dean S3 in three screencaps I would use these.
A close-up, over the shoulder shot of Dean.
This second series of over-the-shoulder dialogue sequences can be broken into two parts: one where Dean is on the defensive and one where Sam is. The subject of the shots also changes as the power shifts between them.
During the first half of this sequence where Sam dominates the scene as he lays into Dean, the camera lingers on Dean’s face despite the fact it’s Sam who is speaking. This may seem counterintuitive when the dialogue suggest that it’s Sam who is the outstanding character in this scene, but the camera shows that what’s important is Dean’s reaction, not Sam’s delivery. And for good reason because this is when we see Dean become more serious and frank. I think this emotional shift shows that Dean isn’t treating this situation as a complete frivolity despite his whole-hearted intentions of brushing Sam off. Perhaps he’s masking his true feelings, which is important for audience empathy because, you know, Dean isn’t a total jerk.
Cap 7.
Cap 7.
Dean’s saying, “We trap the crossroads demon…” signals the power shift into Dean’s court with him no longer dismissing or evading Sam’s questions, but essentially throwing the answers back into his face. What carry the weight in this segment are Sam’s reactions, not Dean’s delivery. Appropriately, we’re treated to lingering shots of Sam’s face during Dean’s dialogue. Particularly important is Sam’s reaction to Dean telling him that Sam will die if they try to get out of the deal. Besides just being the right choice for the scene, the close-up shot of Sam heightens the dramatic tension and helps pull the viewer further into the fictional world. Think about how cheated you would feel if the camera pulled out to a medium or long shot or if it was focused entirely on Dean’s face instead of Sam’s during this portion of the scene. When executed successfully, the camera work is virtually invisible, gives a clear sense of what’s happening (unless ambiguity is the point), and leaves the viewer satisfied. Let’s all take a moment to sing the praises of Kim Manners’ directorial talents. *pause*
Cap 8.
Cap 8.
Finally, the sequence shifts back to focusing on the speakers' face as they deliver their lines. Again the use of close-up shots is important in establishing a rapport and intimacy with the audience. The result: a character/audience connection and increased tension through character conflict via (mostly) dialogue.
Cut to a medium shot of Dean walking away from Sam and Sam cutting in front of Dean, crossing between him and the camera, saying, “You’re a hypocrite, Dean.”
This is a good way to add visual interest by moving the characters. This also transitions nicely to the next series of over-the-shoulder, dialogue shots. I think the blocking here is a great example of nonverbal cues screaming louder than dialogue ever could, but I’ll discuss that in the next part of this meta. The result: a transition into the next segment of the scene and increased tension relayed through physical cues.
A sequence of close-up, over-the-shoulder, dialogue shots.
The camera shots toggle between Sam and Dean, directing the dramatic interest to the “important” character/reaction during key points in the conversation. Note the quick cut to Sam’s face after Dean says, “After everything I’ve done for this family, I think I’m entitled.” The result: increased conflict through mostly dialogue; the camera work is unobtrusive and follows through with the techniques that were previously established.
Rack focus to Sam as the camera tracks behind him to catch a close up of his face as he turns and says, “You’re unbelievable.”
This is a great shot. The camera’s focus is first transferred from Dean to Sam when Dean makes his stance clear; he lays out his hand and effectively walks away from Sam (rack focus from Dean to Sam). Then the camera zeros in on Sam, giving us the closest close-up in the entire scene. This boarders on an extreme close up or a choker close-up (with Sam’s propensity for getting strangled that seems an appropriate name), which is used to isolate significant subject matter and crowd out all extraneous material from view, focusing all the attention on one character. It’s all about Sam at this point, and it’s his reaction we’re interested in. How does he take this? What will he do? One could argue that the entire scene builds up to this point, so its significance is nicely reflected with the close-up of Sam. The result: all attention is directed at Sam.
Cap 9.
Cap 9.
Cut to medium shot of Sam facing Dean who says, “Very true,” before getting into the car. CUE DEPARTURE ROCK MUSIC. The camera follows Sam as he walks to the other side of the car and gets in. Dolly out and transition to a tracking crane shot as the Impala turns down the drive and onto the highway. CUT TO BLACK; CUE CREDITS.
Like transitioning through the five degrees of psychic distance in fiction writing, in this case, increasing the distance from the characters using a crane shot signals to the viewer that the show is over. As an audience we’re being hastened away as our heroes drive off on the highway. The result: an increasing distance from the events in the story; the end is here.
Cap 10.
Blocking and Nonverbal Cues
Let’s pick apart the blocking and other physical cues to see how the visual story is told without dialogue to see how they compare with the camera work.
The scene opens with Sam and Dean standing side-by-side, each with a hand in a pocket, waving goodbye to Bobby. They walk toward what we later learn is the Impala. Their strides match as they walk in synchrony.
Like the two shot camera angle, the verbal language is neutral. If anything, a sense of solidarity is relayed as both Sam and Dean’s actions match. The result: visual affinity, low tension, maybe even harmonious. This is in line with what I think the camera work suggests.
Cap 11.
Cap 11.
Dean stops as Sam says, “…she mentioned this Hoodoo priest outside of Shreveport that might be able to help us out.” Both of them are lined up evenly with the front of the Impala so it sits on Sam’s left and on Dean’s right.
During this exchange Dean shakes his head and does the thing I call “the prolonged eye blink of exasperation” (I see moms doing this to their kids in the cookie aisle at the store as they’re brought box upon box of Nabisco products). Sam’s growing frustration is conveyed through his eye rolling, sighing, jaw clenching, lip licking, and pleading hand gestures.
Cap 12.
Cap 12.
Dean’s behavior strikes me as rather parental and slightly dismissive while Sam’s seems more akin to pleading child. It’s as if Sam is once again the annoying little brother full of ridiculous ideas. Dean acts as if Sam has been harping on him all week to consider fixing “this demon thing” and the way he’s going to deal with it is by not giving in and simply outlasting Sam, deflecting his arguments by any means in an attempt at self preservation. This is where we see Dean’s tried and true coping mechanism for all things familial and traumatic shine yet again. He shuts down and retreats behind a façade. In this case, it’s one of flippant indifference and sometimes inappropriate and slightly cruel humor. The result: increased tension and the sense that an argument is inevitable. This is similar to the overall effect of the over-the-shoulder, close-up shots.
Dean says,“How about Reno, huh?” He starts walking to his right, but Sam grabs his arm. Dean stops. They both shift so Dean is closer to the Impala.
This dialogue sequence starts with Dean on the defensive. As Sam vents, Dean shakes his head, does a half-grin thing, and refuses to make eye contact with Sam.
Cap 13 & 14.
This scene transitions to Dean on the offensive with Sam quiet during which Dean spells out the terms of his deal in a very matter-of-fact manner. We see Sam’s expression change from realization to disbelief to dismay to anger. As Dean grows serious, his myriad of facial expressions stop and he holds Sam’s gaze. When Dean says, “You try to find a way, so help me God, I’m gonna stop you,” he does so unblinkingly. This contrasts with the fun-all-the-time!Dean we’ve seen prior to this and highlights just how serious he is as he speaks a solid truth. But as soon as Sam collects himself and gears up for another challenge by saying, “So now I live and you die,” Dean steps back and refuses to engage. He erects his façade again with the facial expressions and by saying flippantly, “Yeah, pretty much,” then makes another move to walk away. The result: as also seen by the camera work for this sequence, more tension as Sam and Dean play seek and evade.
Cap 13 & 14.
This scene transitions to Dean on the offensive with Sam quiet during which Dean spells out the terms of his deal in a very matter-of-fact manner. We see Sam’s expression change from realization to disbelief to dismay to anger. As Dean grows serious, his myriad of facial expressions stop and he holds Sam’s gaze. When Dean says, “You try to find a way, so help me God, I’m gonna stop you,” he does so unblinkingly. This contrasts with the fun-all-the-time!Dean we’ve seen prior to this and highlights just how serious he is as he speaks a solid truth. But as soon as Sam collects himself and gears up for another challenge by saying, “So now I live and you die,” Dean steps back and refuses to engage. He erects his façade again with the facial expressions and by saying flippantly, “Yeah, pretty much,” then makes another move to walk away. The result: as also seen by the camera work for this sequence, more tension as Sam and Dean play seek and evade.
Sam crosses in front of Dean, blocking him. Sam stands between Dean and the Impala.
One thing I found interesting is where Dean keeps trying to run to throughout this scene. Watch it again and look where he’s headed every single time Sam intercepts him. See it?
It’s the Impala. *glee*
Time and time again we see Dean reverting to the car when he can’t deal directly with life. The Impala is Dean’s escape, his security, his home, the thing that was there when his family wasn’t. It’s something that can’t die, can’t leave him because he can rebuild it with his own hands. It’s the one thing Dean has 100% control over; and because of this, the Impala is completely safe for Dean. So it’s not surprising that it’s the first place he instinctually retreats to when he’s feeling threatened, vulnerable, or out of sorts.
However, in this scene Sam continually prevents Dean from disengaging by physically restraining him or positioning himself between Dean and his “safe place”. Sam literally and figuratively stands in the way of Dean’s surface goal: to keep Sam safe by upholding his end of the deal, and in order to do that, he can’t renege on the deal or encourage Sam to do so because saying yes to his life is essentially saying no to Sam’s. This brings up an interesting dilemma: What does one do when the person they’re trying to protect refuses to be protected? But that’s for another meta or for someone else to tackle…
The blocking parallels Sam’s dialogue beautifully and conveys his determination to save Dean at any cost, even if that means getting into Dean’s face and pushing. Recall the last time Sam continually pressured Dean he got punched in the face (“Bloodlust” 2x03). Surely Sam hasn’t forgotten about how volatile Dean can get. A part of me thinks that Sam’s desperation might grow to a point where he might even be willing to sacrifice his relationship with Dean if it means ultimately saving Dean’s life. But perhaps that’s another meta…
Throughout this next portion of dialogue Sam is all hard stares and Dean is all raised eyebrows, prolonged eye blinks of exasperation, and grins. Dean again lapses into periods where he’s serious and speaks words of “truth” but he once again closes them with dismissive almost haughty remarks that act as road blocks, essentially shutting down the conversation. The result: the conflict climaxes but isn’t resolved. Tension crests and then subsides, but doesn’t disappear. This roughly achieves the same effect as the camera shots, except the camera tends to emphasize Sam during key shots while the blocking doesn’t seem to favor either of the boys.
Cap 15 & 16. Dean's expression here just kills me; what a goof ball. :)
Cap 15 & 16. Dean's expression here just kills me; what a goof ball. :)
Dean ducks around Sam, who is shaking his head, and says, “You’re unbelievable.” Dean smirks, “Very true,” before getting into the car. CUE DEPARTURE ROCK MUSIC. Sam pauses, then walks around the car to the passenger side, hands stuffed in his pockets, and gets in. CUT TO BLACK; CUE CREDITS.
The scene’s resolution is yet another version of Dean deflecting Sam. But this time Sam acquiesces and silently takes his co-pilot position in the Impala. His body language (stooped shoulders, hands in pocket, and his slow gait) suggests weariness or barely contained frustration as if he doesn’t know what else to do. Sam has either recognized when to stop pushing Dean or else he’s recollecting himself, strategizing for another round at some later time or perhaps both. But one this is for sure, Sam is unwilling to blow the argument up by refusing to get into the car, a far cry from Sam in S1. And just like Dean’s proved his devotion to his brother by trading his life, no matter how much of a jerk Dean pretends to be or how many times Dean shuts him out, Sam will always come back to Dean’s side; after all, brotherly love is the blood life of the show. But by the way neither of them looks at each other, it’s clear that the tension remains. There’s short term closure that allows the scene to conclude, but the viewer understands that matter hasn’t been resolved. The result: a satisfactory ending, but a clear sense that the argument is not over. Tensions persist.
Cap 17.
The End
Nonverbal cues, blocking, and camera angles are powerful tools used to form the visual elements of a story. When these techniques are used in concert, they help build a scene by conveying a multitude of subconscious cues to the viewer. Like those Russian nested dolls, they tell the story inside of the story inside of a story. In “TM7” they were used to solidify Sam and Dean’s mindsets in the final scene, which set the tone for the underlying Dean and Sam dynamic that will likely pervade a good portion of S3: Dean hiding behind his facade, evading Sam's questions, and running interference and Sam pushing Dean and pressing forward despite what Dean does or says. And as we saw, it’s gearing up to be a season full of tension, conflict, angst, some bad jokes (aww, Dean), and lots of brotherly devotion. Whoot! Go Show.
naughty
This caught my attention
Through Sam’s pleading hand gestures, Dean lightly hitting Sam with the back of his hand, and Sam grabbing Dean’s arm, we see Sam’s attitude change from hopeful insistence to irritated frustration and Dean’s move from jokingly flippant to dismissive. Watch the scene without sound and you’d still be able to discern the overall dynamic: which character is being evasive, which character wants something the other won’t give, which character grows frustrated, etc. The result: increased tension and an overt power struggle.
It was interesting to think about the various ways that touch is used between the characters. I know someone did an analysis of how Dean uses touch, and it'll be interesting to see how Sam uses it and compare.
Let’s all take a moment to sing the praises of Kim Manners’ directorial talents. *pause*
I will gladly do so because it's well deserved. However in this particular example it's a standard shot in terms of filming both actors simultaneously during a scene to cut down on filming time. The decision to switch from one POV to the other is the editor's (and boy can a crappy editor screw up a show). So while the director generally leaves notes and must plan for the shots to be included, focusing on one person or another during a dialogue is a decision made elsewhere (and sometimes also depends on the technical quality of the final shots, an actor's choice of reaction, etc.)
The Impala is Dean’s escape
I'd add it's a pretty literal escape, it's a way of him running away from whatever situation he doesn't want to engage with.
That's curious that you bring this up because this meta was going to be about "Sam touch" originally. I was centering it around the screencap of Sam grabbing Dean's arm and was going to look at how, when, and why Sam aggressively touched Dean and how that may reflect their S1-S3 role reversals.
However, this meta took a left turn and I ended up exploiting a tangent that turned out to be what you just read. I have my original ideas stored away for another meta. Although I won't be doing any statistical analysis (I'm guessing this is the meta you're talking about), I'm also curious what a "Sam touch" study would yield. There's so much material in this fandom it's hard to concentrate on just one thing, isn't it? :)
The decision to switch from one POV to the other is the editor's (and boy can a crappy editor screw up a show). So while the director generally leaves notes and must plan for the shots to be included
Yes, you are quite right about that. Thank you for pointing that out. One thing I enjoy about this fandom is the depth of knowledge people have and how willing they are to share it. :) Editing is something that I know very little about and often forget to consider. You're right, it's an extremely important job that the lay person (like myself) usually doesn't notice unless it's poorly done. Maybe one of these days I'll teach myself a little more about what's involved.
focusing on one person or another during a dialogue is a decision made elsewhere (and sometimes also depends on the technical quality of the final shots, an actor's choice of reaction, etc.)
So true. Esthetic and dramatic factors also play a role in that as well as environmental constraints such as the weather and terrain (particularly important for a show such as SPN with so many exterior shots). While watching S2 on DVD, I was suprised to see so much drizzle in a number of scenes where I didn't think it was precipitating. Apparently my TV and computer aren't HD, uber great enough to translate pixels into tiny drops of water. ;) Anyway, I've wondered about how the rainy Vancouver winters affect shooting and ultimately the final product. I laugh whenever I watch "Bugs" because somehow Sam and Dean don't seem the type to keep black golf umbrellas in the back of the Impala; I have a feeling those umbrellas probably weren't necessitated by the writers/script.
Thanks for leaving your thoughts.
Hee! Well I look forward to what you come up with. I agree that that the arm grab is a move that I hadn't noticed in my viewings of the episode, but it's an interesting counter to the "parental" actions you noticed in Dean. And yes, your link was the one I was remembering.
usually doesn't notice unless it's poorly done
I think that's really true. One can usually notice directing choices in terms of staging or nifty camera moves (such as the various shots of Dean as he exited the house in the beginning of the ep). But all those "intuitive" transitions, the holding of a frame for however long, and blending together of various elements all create the pace of the show too (not to mention what gets cut if something runs long).
Actually I know little about editing either, but one thing I found really eye opening was seeing the dailies of a show. It made me understand, not only why it could take a whole day to shoot just 2 or 3 scenes but also the number of choices facing editors when they put together a scene (or whole episode). For example one (largely) stationary shot with 2 actors and a stand-in had 6 different setups and each one was shot at least 3 times and as many as 7. By comparison to the final scene a lot of these takes seemed flat, whereas by moving back and forth from different distances and POVs it seemed focused and dynamic in its final form.
One other thing I was surprised to discover in the AHBL2 documentary was that they apparently storyboard episodes. I don't know if that's typical on TV episodes but I would have never have guessed they do so given time constraints. Maybe on shows like SPN that are special effects and action heavy it's a necessity? Or maybe it's because the editing and directing functions are so distant that it serves to guide the editors in their work? I'd love to ask that of someone sometime.
I've wondered about how the rainy Vancouver winters affect shooting and ultimately the final product.
Honestly, given the weather it surprises me that Vancouver has done as well as it has with show production. Then again few probably do as much location shooting as SPN so it probably works out better for other shows. You're probably right about resolution in terms of being able to see rain, but I know that rain actually is coming down much harder than it seems on screen even with HD. I remember that being mentioned in some commentary or other. Speaking of which, I remember Kripke mentioned how the shots of Dean mowing in WIaWSNB was the only time during the whole shoot that the sun came out.
Another umbrella moment was when the townspeople are conferring in Scarecrow. I'm sure you're right, none of those are in the script.
Oh, that is so interesting! Editing seems like such a creative (and almost overwhelming) process to me. Of course, the director's vision and storyboards act as sign posts, but actually assembling the takes and tweaking things when they don't work (or making things work when there's little to work with) seems incredibly challenging. If you don't mind me asking, what's your capacity in the entertainment industry (eyeballing dailies)?
I was surprised to discover in the AHBL2 documentary was that they apparently storyboard episodes.
When I was watching SPN's S2 DVD's I kept pausing it so I could see the storyboards because I was so surprised that they took the time to make them. I have no idea if that's normally done for TV shows either, but I think yours reasons are very likely. I watched a commentary for something from the Firefly series and I think Joss Whedon mentioned that they storyboarded the spaceship visual effects. Maybe, like you say, it's required for SPN's visual effects and perhaps even those tightly choreographed fight scenes.
But I also wonder if it could be because SPN is a "single camera" show shot using deep space (more typical of feature films) instead of a "multi-camera" flat space-shot show (always used for sitcoms, news and talk shows). With the different camera angle options like close-up and extreme close-ups needed (or allowed to be used) to make things look more dimensional, maybe storyboarding is just a necessity? Maybe all TV shows of this nature storyboard to some extent? *shrugs*
Honestly, given the weather it surprises me that Vancouver has done as well as it has with show production.
Ah, yes. But you get that beautiful and instantly recognizable flat blue-gray Vancouver winter light in those exterior shots. :) When I moved away from Vancouver to the midwest for a short time, I would watch the X-files partially just to see that west coast light. My (rather dorky) fascination with light is part of the reason why "Faith" is one of my favorite episodes. What a gorgeous episode.
I know that rain actually is coming down much harder than it seems on screen even with HD. I remember that being mentioned in some commentary or other ... Kripke mentioned how the shots of Dean mowing in WIaWSNB was the only time during the whole shoot that the sun came out.
I think the hard rain was mentioned by Kripke in the "WiAWSNB" commentary. I laughed when he mentioned the fortuitous weather. And I thought that they got the sun to shine just for wish!Sam's debut. ;) Just think how different that scene would've looked it if was overcast and gray. -_-
Another umbrella moment was when the townspeople are conferring in Scarecrow.
That overhead shot of the grouped umbrellas with the rain falling on them was very nice. I think I flailed a little when I first saw it. I'm all for economical and unobtrusive camera work used to "just tell the story" but a part of me just really likes pretty pictures for the sake of prettiness. Some fancy camera work and lighting isn't really showing off as long as it still services the plot, right? ;)
Oh none at all -- there's about a dozen episodes of Buffy that have dailies floating around and I've seen a number of them. I don't know if any other shows have them around but I wouldn't be surprised.
I watched a commentary for something from the Firefly series and I think Joss Whedon mentioned that they storyboarded the spaceship visual effects.
Yeah, I would think that would be somewhat necessary so that directors would know what they have to actually shoot. Also in the dailies I saw were a number of shots that were essentially place holders for where special effects would go in. In the case of AHBL it seemed to be related to their concerns about feasibility and costs so I'd guess it also relates to budgeting (and I am dying to know what happens to the storyboards after a show is finished!)
Faith" is one of my favorite episodes. What a gorgeous episode.
That had a pretty distinctive look and I think was pretty well suited for the supposed setting. In other cases, I hate to tell them but the midwest isn't nearly as forested or hilly as depicted!
a part of me just really likes pretty pictures for the sake of prettiness. Some fancy camera work and lighting isn't really showing off as long as it still services the plot, right?
I completely agree. I absolutely love those moments in the show with the wide landscape shots, and it seems to me a signature thing for this show.
Oh, really? *looks interested* I would love it if SPN released some of their dailies (old or new). I think half of the fandom would probably explode with squee.
I am dying to know what happens to the storyboards after a show is finished!
You know, heh, Kripke could take care of the extraneous set-pieces/storyboard garbage issue and the production cost problem if he just had someone on the production crew clandestinely stick them up on Ebay. ;) Items would be gobbled up in no time. I for one would love that funny little red and yellow monkey featured in interior Roadhouse shots. ;) But I suppose there's some fine writing in some studio contract somewhere about not selling props/script copies/storyboards for profit.
I hate to tell them but the midwest isn't nearly as forested or hilly as depicted!
lol ... I don't think Nebraska even has a hill. I feel justified in saying that because I grew up in the midwest, the home of mosquitoes, flatness, sunny winters, and beautiful lake country. :)
But I suppose there's some fine writing in some studio contract somewhere about not selling props/script copies/storyboards for profit.
When it comes to props and such I believe they belong to the studio. I know after Buffy and Angel ended, Fox auctioned a variety of items from all seasons and some other items went to resale stores in L.A. I'd think most wouldn't be sold until the series was over however in case they needed to reuse items.
The storyboards though is an interesting question. I agree that they'd be snapped up!
I grew up in the midwest, the home of mosquitoes, flatness, sunny winters, and beautiful lake country
I'm living there now but I grew up in Florida. Given that, I've never understood what's so awful about flat land but I'd no sooner moved here than I heard people complaining about it. The miles of corn though was new :>
I don't know a whole lot about cinematography either so no worries. Dabbling is fun and for fandom perfectly acceptable (at least that's what I tell myself when I'm confused about cinematography terminology).
Thanks so much for reading and dropping me a note. :)
“We’re not going and that’s that”
I love how Dean goes all parental on Sam. It's such a small glimpse, but Dean says it with this firm, patient tone that he probably had to use a lot with Sammy. And Sam actually pipes down until Dean makes a joke about the situation. Also, the way they are both shot from the side supports the confrontation nicely. I get flashbacks to Dead Man's Blood where Sam confronts John and Dean breaks it up...
Caps 4, 5, & 6. If I were to sum up Sam and Dean S3 in three screencaps I would use these.
That's a pretty good prediction. Sam will plot behind Dean's back like that last cap suggests, and Dean initiates their
huntsadventures, trying to avoid the truth about their situation (like in caps 4&5).What does one do when the person you’re trying to protect refuses to be protected?
That's a good question, indeed. And this can be applied to both boys as there's Dean soul and Sam's life on the line. Someone should write that meta... *pokes you gently* ;)
And Sam actually pipes down until Dean makes a joke about the situation.
Wow, he does ... just like a little kid (or a baby brother). Good catch! I think Dean's jokes grate on Sam under normal circumstances, but more than anything else Dean is doing (or not doing) about this demon deal, it's the jokes and the Dean's light-heartedness about dying that set Sam off. I think that Sam knows that deep down Dean doesn't want to die and he's trying to niggle that out of him. I bet there's going to be a huge confrontation near the middle of the season where Sam just lays it all out and finally gets Dean to admit that he doesn't want to go to hell. Angst! *rubs hands in anticipation*
I get flashbacks to Dead Man's Blood where Sam confronts John and Dean breaks it up...
That was one of my favorite scenes in S1. It just said so much about the Winchester dynamic. I wonder if we'll get a S3 version of that scene with Dean and Sam squaring off and Bobby refereeing. Oh, imagine the number of metas that would spark!
And this can be applied to both boys as there's Dean soul and Sam's life on the line.
You're right. Duh, I didn't even think about Sam's perspective. I guess this just goes to show that I'm still not quite thinking of Sam as an sort of "protector" yet; two seasons of the "little brother" role is obviously hard to reverse in three episodes. ;) This is such a classic and symmetrical antagonist/protagonist set up that it just make me want to thank Kripke over and over again.
Someone should write that meta... *pokes you gently*
You have your
evilenabler hat on, I see! *grins* Dude, I suck at writing "opinion based" metas. I end up rambling. And believe me nobody wants to read my unstructured rambles. But I would love it if someone much better at those kind of metas picked it up. :) Plus my silly meta list keeps getting longer and longer. Oh, show, why do you do this to me? *headdesk*I wonder if we'll get a S3 version of that scene with Dean and Sam squaring off and Bobby refereeing.
I can't even begin to tell you how freakin' awesome that would be! There have been these repeated scenes and visual images throughout the series (e.g. the 'Sam surprises Dean in the middle of the night' scene in Pilot and WIAWSNB), and that one would make an excellent addition. *adds it to the wish list*
Plus my silly meta list keeps getting longer and longer.
Tell me about it! There are these little ideas and theories that just beg the attention. Unfortunately, I may have to skip doing meta as it requires a lot of thinking and researching and coherency... At least with fics there may be odd bursts of creativity which don't require that much work. ;)
It would! Heh, maybe we can wish our scene into being with our crazy brain powerz ... you know, like tulpas. *snortlaugh* ;)
Unfortunately, I may have to skip doing meta...
*small voice* nooooooooooooooooooooo....
as it requires a lot of thinking and researching and coherency... At least with fics there may be odd bursts of creativity which don't require that much work. ;)
I'm the exact opposite! Metas somehow require less work than fics for me. Fics always end turning into these huge, overwhelming projects that require a lot of brain power. I get hung up on plotting and motivation and just run out of steam. I was trying to do one shots a while back, but ... erghfm. Anyway, keep pumping out your fics! Do you have any plans for a multi-chaptered fic? Just asking. :)
Or we could make a post about it somewhere and hope that Kripke sees it. ;) And makes it happen. Because you know that he'd be very into it.
I get hung up on plotting and motivation and just run out of steam.
Guess why I've been posting PWPs lately. :D My problem with fics is that I can't force out anything and therefore am a very slow writer. There has to be at least two nice wordings/mental images in my mind before I can even think about writing.
Do you have any plans for a multi-chaptered fic?
Well... The back story for the priest thingy might be multi-chaptered. And I have written about 8.7k words of an AU fic (for the
You and me both! I'm a-dehydrating-slug-stranded-in-a-salt-fl
The back story for the priest thingy might be multi-chaptered
ORLY? :) *clamps the
evilenabler mouth shut* I've heard a lot about that reel_spn challenge; it seems like people have been working on their entries for a long time (unless it's just an ongoing thing). "Natural Born Killers" is a great movie respin with a SPN slant. And, whoa, you've got quite a few words there already! You go! Let me know when you submit it because I'd love to read it.That sounds somehow familiar. :) I keep getting hung up on details, and if there's even the slightest problem with them, I can't continue. Which is probably why I'm more productive during the late hours when my brain has mellowed out a bit. ;) Ugh, free form writing (if I understand the term correctly) is something my control freak self has never liked.
*continues with the off-topic discussion* You know the movie?! Because, you know,
The reel_spn had its deadline long ago, but I didn't want to ditch the partially written story because of that, so I'm just going with the format and posting the story when it's done. If all goes well, it'll pop up on your flist one day... Unless you I can offer you something rewarding enough to beta it/read it through. *bats eyelashes* ...But, seriously, I don't want to force you into doing that and I'll understand if you'd rather skip that part and go straight to reading the finished story.
Yeah, free associating blah blah ... I pretty much just write stuff and then delete it. It's supposed to be just an exercise, like doing warm-up scales on the piano. After my writing course I became much less productive because I was trying to employ everything I learned right then and there and that disabled me. So I guess right now you could say I'm in physiotherapy, trying to get back on my feet. One of these days I'll hopefully turn out another fic just for fun.
Which is probably why I'm more productive during the late hours when my brain has mellowed out a bit. ;)
I should try that. Maybe if I didn't care at all what I wrote, I might actually write something lol.
If all goes well, it'll pop up on your flist one day... Unless you I can offer you something rewarding enough to beta it/read it through.
Hehee. How about you don't completely close down the possibility of writing more meta? *evil grin* I'd be willing to give it a read through for sure. :) It's been ages since I watched the movie, so if you're looking for me to remark on the parallels in depth, I'd have to rewatch the film (which really wouldn't be a problem). And really, who doesn't love more renegade Sam and Dean with gun fics? ;) Oo, is it a Sam/Dean fic or a Sam, Dean fic?
I don't think that I could stop writing meta completely anyway. :) *is currently rewatching 3x02 for ideas* Hmm, at the moment I'm pretty comfortable with how the fic is following/not following the movie, so it's probably not necessary for you to watch it. Mostly, I'm just ripping the story and throwing the boys into that world. And yes, it's a Sam/Dean fic, though not explicit. At least not yet. ;)
*breathes a HUGE sigh of relief* I'm so happy to hear you say that. :) Thinky thoughts are no fun if there's nobody else to think around with. Yes, I'm totally selfish. *smooshes you*
Thanks for all the thought-provoking interpretations.
ps. I'm friending you - I like interesting, and this was exactly that.
I'm friending you
Oh, wonderful! I love new friends. I'll friend you back. Don't be shy about dropping in on convos and such, nobody here bites.
And the best thing, I kinda feel like this sort of though/ discussion legitamises my obsession with Supernatural. Justifying the shame, lol.
Ruby
I kinda feel like this sort of though/ discussion legitamises my obsession with Supernatural. Justifying the shame, lol.
Everyone's a little crazy in their own way (and if not, it's called "boring" *wink*), believe me there are much worse things to be obsessed with than a harmless TV show with pretty boys. I'm a secret fandom-dork, but I've learned to embrace my inner spazgeek, and since then it's been pretty fun. Justify the shame away. You're definitely not alone. :)
Excellent
Zaz
Re: Excellent
This was my favorite scene from that episode, but then again I tend to favor emotional/mytharc-related scenes/episodes no matter what. I expected more from the season premier, maybe unfairly because it would be virtually impossible to duplicate the drama and emotional intensity of "IMToD". Regardless, this Sam and Dean scene was fun to pick apart.
Re: Excellent
Zaz
Re: Excellent
Don't mind me - just a little flushed
Preparation Preparation Preparation
Zaz
Re: Excellent
I use it all the time because I'm the Typo Queen; my fingers just don't seem to always cooperate with my brain. ;)
Re: Excellent
But if you're going for the uber cliffhanger of doom finales, then, for sure, cutting things at the end of "AHBL-1" would be more consistent with the S1 finale. Nothing like possible dead Winchesters to keep us on the edge of our seats for four months. Looking at the pattern, I wouldn't be surprised if we're left with a possible dead Dean this season.