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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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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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Spooktober continues with a funny, weird blend of physical comedy and visual effects in this Beetlejuice gag! buff.ly/vTAPgdO
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The entirety of this spinning oner from Blow Out is over two minutes, so the full thing will be up on Substack along with further breakdown, but take a moment to appreciate how effective the spinning sensation is at disorienting us along with Jack's (John Travolta) growing panic!
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When the emergency lights go on in this Ride or Die scene, everything in the hallway is soaked in red; even the one practical light, the EXIT sign, is red - a sign of danger, but also a sign Debbie (Octavia Spencer) is about to throw down for the first time.
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Shot Zero retweeted
Close enough, welcome back Leslie Knope
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Spike Lee washing this Da Sweet Blood of Jesus shower scene in yellow may seem like an arbitrary or purely aesthetic choice . . . but it ties into another scene where a church is bathed in mostly yellow light. 1/2
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Like much vampiric lore, Spike is playing with the juxtaposition of profane and holy, sensual and spiritual.
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