- 'In his world, drama happens when a character learns a new piece of information'
- He doesn't use handheld but designs around it when he does - restrained use means it is more meaningful when he does. For example, in 'Seven' (David Fincher, 1995), the camerawork on the detectives at the end is shaky, whereas the shots of John Doe are fixed on a tripod - conveying who has the power in the scene and their mental states.
- Fincher gives the camera an omniscience, as though not being controlled by a human, creating an ominous, detached feeling.
- Doesn't cut to a close-up often - 'every time you cut to a close-up, you're telling the audience... this is important.' When he does use a close-up, these moments gain power 'precisely because he withholds them'
- He uses wide angles and avoids camera movement if possible to present the scene in a 'simple, proscenium way'.
- Manages to make a scene of 3 people speaking cinematic (below)
- Our eyes are drawn to this conversation, but the difference in shot sizes lets us know that the topic is 'more important to Somerset' than the chief.
2. Shifts to a different angle of both characters to show that Mills is trying to enter the conversation, but the difference in eyeline conveys he's not registering him.
3. Fincher saves the only close-up for when Mills is shot down by the chief, adding to its power.
4. Can track the characters' relationship through framing for the rest of the film.
Fincher also uses the power of holding on an empty frame or letting a shot run in full for suspense.
In his video essay on Akira Kurosawa, Zhou discusses the use and different types of movement within a frame to make a scene more dynamic, cut together easier and convey story information without the need for sound.
- Most shots have some kind of movement of nature in the foreground or background - creating visual interest even when the characters are still.
- Number of people in a scene exaggerates any kind of emotion.
- Uses very fluid camera movements - but each camera movement has a clear beginning, middle and end.
- Different types of movement: nature, group, character - most effective when combined together.
- Cuts on movement to hide the edit, and varies the end of the scene to switch up the rhythm. End scene on static - cut into movement, constantly surprising.
- Uses the example of a scene from 'The Avengers' (Joss Whedon, 2012) where the camera movements have no clear start or ending, is unmotivated and in the same direction - scene is told through dialogue, not visuals.
In this final video Zhou breaks down a scene from 'Silence of the Lambs' (Jonathan Demme, 1991) to analyse the power struggle between the first meeting of the two main characters. This is achieved through a number of subtle blocking and camerawork elements, as I have summarized below.
- Characters both want something from the other - power struggle in the scene
- Framing at the beginning both looking into the lens - examining each other. Equal framing shows equal power.
- As he gains power, moves to an OTS with her smaller in the frame - both building a defense.
- Rest of the scene looking slightly down on her, and up at him - subtle power balance change.
- He looks into the frame whereas she looks off-camera - we are inside her head. Camera wanders around the room to reinforce this POV, moves back to meeting Lecter's eyes.
- When she is honest about her intentions Lecter moves to a standoffish angle, showing his resistance.
- He shows genuine interest and we move inside his head - he looks off, and she looks into frame.
- When he gets one up on her the camera moves to put him centre frame and her slightly off-balance.
- They no longer look directly into the lens for the rest of the scene - 'not seeing eye-to-eye anymore'
- First two-shot in the entire scene sets up the characters' relationship that will continue for the rest of the film.
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