Composition

[Gbabymogul]

Since I'm doing a spring cleaning on my computer here, i thought i'd show some examples of composition. Just a few ones i'm filing, just for fun. The more extensive file is on my other comp


Antonioni's "L'Eclisse"

so many artistic principals at work here, especially the use of perspective and gradations to focus the audiences attention.

love how he framed this one, and used the dynamism of the frame with Monica, and water mist creating another layer - it also fits the story amazingly well (thematically)

notice the blond hair dark dress, brown hair white shirt. Use of contrast, and also Antonioni was a fan of texture (tree, ex.), i think I haven't seen all his films.

Henri-Georges Clouzot's "Quai Des Ofevres"

This film was a wonderful surprise, and this is a still of a particularly good reason -> not only does he use all the tools of a director but there's multiple themes and story playing out gracefully.

:beer:

 

[Gbabymogul]

A few more

Stanley's

I dig this film more for his consumate directors touch than the material itself, but this scene stood out to me as pretty fine - i read how Stanley had them do this one a lot and had them physically change positions until he got their body positions perfectly right, almost like telling the story, even without dialogue. He was also very specific with the paintings in the film. Wonderful art direction.


And one that i want to try and emulate in an upcoming short film set in Tokugawa era Japan (yes, ambitious, i know)
"Vidocq"

and from one of my fav painters, F. E. Church Jerusalem from the Mount of Olives 1870

That's one of the things i'm looking forward to with RED; digital painting possibilities. Any pro colorists/fxperts want to volunteer ?haha ;p

:beer:

 

[Tom Lowe]

When it comes to composition, Wong Kar Wai is the current master, IMO. In the Mood for Love and 2046 are unmitigated masterpieces. It will be interesting to see Wong's first picture shot in America, My Blueberry Nights, which will be in competition at Cannes.

 

[Gbabymogul]

When it comes to composition, Wong Kar Wai is the current master, IMO. In the Mood for Love and 2046 are unmitigated masterpieces. It will be interesting to see Wong's first picture shot in America, My Blueberry Nights, which will be in competition at Cannes.

Very funny coincidink. WKW is my favorite director, so I thought i'd show something else for a change
Undoubtedly, he is a master - you could frame stills from his movie so easily. I'm still hoping he gets around to The Lady From Shanghai (with either Rachel Weisz, or less likely Nicole or Naomi). I can't wait to see his first full American feature.
:beer:

 

[Tom Lowe]

I think he has a busy schedule over the next couple of years. Instead of Shanghai, I heard he will be shooting a "lesbian romance story set in high school" in Taiwan... :w00t: Count me in!

 

[David Mullen ASC]

I'm a big fan of Kurosawa's widescreen deep-focus compositions using long lenses:

 

[Gbabymogul]

Love Kurosawa.

I remember I introduced my Dad to foreign films with "Ran", which he loved. Some of my fondest memories are the delight at us catching a new (for us) Kurosawa flick. I only wished I could have shared with him some of my favorite Kurosawa films (that have come out on DVD) before he passed away.

Btw, Norfolk is another fav for compositions of mine. Not to be a kiss ass, but a lot of it shares the same sense of...grace?...I don't know the proper term.

My favorite compositions are ones that are both evocative, but leave some room for contemplation. IMO, it's one of the hardest things to accomplish with subtlety.

I don't know how Kurosawa accomplished it so consistently. I would still like to get "Drunken Angel" out in a Criterion DVD

:beer:

 

[Poi Boy]

deep focus, how videoish ! lol
-A

 

[David Mullen ASC]

Love Kurosawa.
Btw, Norfolk is another fav for compositions of mine.

Thanks -- here are some random frame grabs from the DVD... I was sort of inspired by John Ford movies and Andrew Wyeth landscape paintings.

 

[Gbabymogul]

Lovely.

I can see the Ford inspiration. None of the frame is wasted. I was watching the Searchers the other day, and every time I see that porch shot at the beginning and the end of the movie, it reminds of the end to a great score of music - all the elements amplified to create resonance.

I wish more directors would push the envelope compositionally, but I suppose there are market conditions to think of. Maybe the skill set for deep focus composition/traditional art/production design/sets has been replaced by more exigent concerns? like attention deficit disorder audiences (kidding )
Whatever the reason, when I see great composition that fits thematically and aesthetically with the greater pic; it's refreshing.




:beer:

 

[Sam Druckerman]

Oh, I like this thread.

Thanks guys....

Please keep them coming.

 

[Gbabymogul]

Thanks, i have a few from this comp. :

Jim Sheridan's "In America"

A movie that deserves more recognition, IMO. What's great about it composition-wise is that Jim really adapted his choices to fit the script, but took innovative approaches to doing it (all subjective, of course). What impressed me is he managed to keep a naturalism to his choices, while keeping them composed. Very balletic...the above shot isn't in the correct aspect ratio. Tell me you couldn't write a short story off of that one still frame.



Jean-Pierre Jeunet's "A Very Long Engagement"
Sort of formalist compositions dripping in romantic honey.

Notice during this scene (composited) even the composited element leads you to reinforce the main actress. I noticed how the movement in it leads you back to her gorgeous eyes, and the direction of her gaze reinforces the element. It's one of the few recent films where I felt they used compositions from both areas to make a greater scene (instead of just relaying exposition) - IMO -

These shots speak for themselves. location, art direction, frame, composition, lighting.

Sorry if my commentary is a little arty-fruity, but the closer RED gets to shipping the more excited i am to try and learn the melodies of directing - IMO we're always learning. Also to aim for the evocative images previously posted... now, i just have to write something i'm happy with.

 

[martinnoweck]

Nice thread, please keep posting!

Martin

 

[Sam Druckerman]

Thanks, i have a few from this comp. :

Jim Sheridan's "In America"

A movie that deserves more recognition, IMO. What's great about it composition-wise is that Jim really adapted his choices to fit the script, but took innovative approaches to doing it (all subjective, of course). What impressed me is he managed to keep a naturalism to his choices, while keeping them composed. Very balletic...the above shot isn't in the correct aspect ratio. Tell me you couldn't write a short story off of that one still frame.

I love In America! And I agree, it didn't find the audience it deserved.

And speaking of Jean-Pierre Jeunet, what did you think of Amelie? Which is another favorite..... the look of Amelie just blows me away. I love the way the camera moves as well... it helps tell the story with out calling attention to it self, very difficult to accomplish.

 

[David Mullen ASC]

By the way, I was nominated for the Independent Spirit Award for my work in "Northfork" but lost to "In America"...

Speaking of John Ford:

 

[David Mullen ASC]

Here are some of my other favorite images in films:

 

[Gbabymogul]

By the way, I was nominated for the Independent Spirit Award for my work in "Northfork" but lost to "In America"...

Haha, i finally get to use this smilie oster_oops: if it's any consolation, I think that the award would have been well deserved either way. At least they got the nominations right, for that one

Ford is great. I've always wondered how much of that pics location was built and how much was pre-existing that they adapted for the film ?

And speaking of Jean-Pierre Jeunet, what did you think of Amelie? Which is another favorite..... the look of Amelie just blows me away. I love the way the camera moves as well... it helps tell the story with out calling attention to it self, very difficult to accomplish.

Amelie was a breath of fresh air (although some French had a problem with the idealization of the culture, but it suited the story). Jeunet used a lot of color cues for the film - sometimes I think he may have been a wee bit enamoured of the process. But, certainly, his choices for camera movement with composition were pure talent. Having us fall in love with Audrey Tatou for the first time doesn't hurt either. What's great about Jeunet is his ability to mix pov's - from voyeuristic to spectator to participant - suiting the story every step of the way.

Anyway, i'll try and dig up some more pics tommorow.

David's covered some classic examples of what we all strive to achieve.



:beer:

 

[Sam Druckerman]

By the way, I was nominated for the Independent Spirit Award for my work in "Northfork" but lost to "In America"...

Hi David, sorry to say I missed Northfork, I'm going try to rent it this week.

Perhaps you could comment on the grabs, or say where there from. I have to confess that I don't recognize the Ford clips, But I do think there gorgeous.

Here are some of my other favorite images in films:

I do recognize 2 of these... on the bottom, Close Encounters & Lawrence of A.

I think the top one might be from the Godfather series?

The second to the top...... wild guess here, Blade Runner?

 

[David Mullen ASC]

The Ford movie is "How Green Was My Valley".

The first is from "The Godfather: Part II".

The second frame is from "2001: A Space Odyssey".

Another influence for me in my widescreen framing in "Northfork" was "Superman":

 

[Stephen Webb]

I still can't get over how amazing this film looks. I'd love to see a 70mm print of it someday, but even on a TV it takes my breath away - ever since I saw it Freddie Young has been no.1 as far as I'm concerned.

Bought his autobiography a few years back - great read, he really seemed to enjoy his work and knew not to take things too seriously (which if you happened to be working with David Lean was a good thing!)