We had to choose a clip for Camera Movement. I got it down to five, which are in this clip, before finally settling on a clip from War of the Worlds. My reasoning was the scene draws on every aspect of camera movement that Janusz Kaminski and Steven Spielberg worked together on in the preceding 15 years. Their framing and movement includes walk-and-talks, crane, dolly, Steadicam, aerial, point of view, war-like chaotic movements, dramatic pushes and shooting imaginary elements where CGI would later be put in. The scene also includes examples of more traditional shots covering regular conversations. The choice of dirty, distant camera placement is intriguing. Add to that the gradual distancing between the audience and Tom Cruises character throughout the sequence, which ends with a close up of his face. It is a brilliant example of how Spielberg moves us from the focus of our story to wider ramifications of events and then back to our focus. He does this is many of his films and with pacing no other filmmaker has managed to achieve. He is truly a master filmmaker and is lucky to have found a collaborator in Janusz Kaminski. The Terminator 2 clip is vitally important to the establishment of mainstream action cinema, which was influenced by the film for around 15 years following its release. The scene is an example of the smooth, cinematic style James Cameron was establishing for the industry (incidentally, of course). It was the catalyst that helped the industry abandon the 1980s style of action direction, which had become stale and visually distant due to a lack of fluidity. His style has been followed and modified by most action filmmakers and was the gold standard of action cinematography throughout the 1990s and early 2000s. Michael Bays style has never really taken off beyond his own work, but is certainly influenced by Cameron (the opposite is true for skin colour, however, and there is an incredible parallel between Bays portrayal of white skin and how all other cinema and advertising portrays white skin). In 1999 The Matrix came on the scene, but it was the effects, not the camera movement, that influenced the industry. The only notable exceptions to this would be Swordfish (same producers, funnily enough) and spoofs. Even then the famous Bullet Time dodge is remarkably similar to The Michael Bay (a spin around the subject typically just after an action beat, but occasionally during. This shot, however, is usually shot from below the subject looking up at them). The style is oddly reminiscent of Dark City and Twelve Monkeys and is, in my mind, a misrepresentation of the directors visions, as the sequels failed to remain loyal to the style they established in the original. Even Bryan Singer didnt bring much to the industry and other prominent late 90s and early 2000s directors such as Brett Ratner (yes, I know) had little effect on how the camera moves. It wasnt until Greengrass started his work on the Bourne series that things began to change and braver choices were made. I dont think, however, that action is shot well in the Greengrass films. I used to, but Ive turned off muddy coverage - especially since seeing The Raid in 2012. Even then it could be argued that The Dark Knight has been the bravest action film coverage in mainstream cinema in the last twenty years. Saving Private Ryan was a turning point for camera movement, so its included (as well as a slow push, which is a personal favourite of mine and well-executed in Saving Private Ryan). I could go on for a long time about this as well, but wont. The Children of Men clip is an example of a director thinking far outside the box and putting his creative vision before possibilities. He continued this trend with Gravity. Its important to note Steven Spielberg and Janusz Kaminski did something very similar in War of the Worlds, but it is nowhere near as impressive as it uses far more traditional techniques. Its impressive, but Alfonso Cuaron has a capacity to envision camera movements that eliminate the very presence or existence of it from the audiences point of view. The point is, as Caeser says, be brave - be decisive. Think up movements that work for drama, narrative and every other aspect of your film. Use it to communicate. Use it to emote. Even no movement is a decision. Once you understand the conventional, you can begin to master your own style and establish yourself as a creative identity with a distinct cinematic presence.
Posted on: Sun, 17 Aug 2014 11:40:24 +0000
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