Sunday, April 3, 2011
rush.7
I think the scenes that happen with Linas and the man that asks him for a ride are very similar to the circumstances in the scene that we chose to work on. It's an awkward car ride and nobody knows what to say. Sometimes it's better if you don't say anything at all. In the scenes where Linas and the man are in the car there are several shots where the camera is on the man for a long while, the man isn't doing or saying anything, then there is a quick shot back to Linas to show how he feels about this strange man in the car. The longer shot on the man doing nothing enhances the awkwardness. Also Lina uses a back shot so we can see both of the men at the same time. It's a great shot because we can see the spacial relationship between the two men.
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Yeah, that's a nice connection. What's interesting about the mapping of the scene(s) you're pointing to onto your crew's project is the diegetic difference between the two contexts: While both involve car-rides and same-sex couples of sorts, one is clearly sexual (or potentially so) and the other is purely platonic (whether or not we're yet in a position to know that at the point in Bass Ackward that you're describing).
ReplyDeleteThere's something pertinent in the mood connoted by Phillips' shooting/editing/enacting of these scenes. But precisely because some work would be required to figure out how to map the scenes/circumstances of a cross-country (quasi) buddy story onto your crew's depiction of unrequited romantic/sexual desire, you'd most certainly end up seeing your own scene in new dimensions.
100/100
CS