Thread by @kyalbr

This thread is for people who are curious about some film basics.

This is a low, Dutch angle two-shot.

That probably doesn’t mean much.

But, here’s why this image feels like it does.

That image was a “low angle”.

If the camera is placed low and pointed up, it’s a low angle.

If it’s placed high and pointed down, it’s a “high angle”.

Here’s one.

It looks as if we’re high above Bruce and looking down.

As a result, do we feel more powerful than him?

K, back to our low angle.

If high angle shots cause us to feel (more) powerful than the image we’re looking at.

Low angle shots can cause us to feel (less) powerful than the image we’re looking at.

OK, new subject.

Focus on how straight on this is.

With your eyes, draw a bright green line from left to right, through the middle of this picture.

Are Sam and John basically perpendicular to that green line?

Does this image make you feel properly oriented to them?

Back to our low angle.

Draw that green line again.

Do John and Sam seem slanted now?

We already said the low angle makes them feel more powerful than us.

Do we also now feel slightly disoriented?

This is a “Dutch” angle.

(A mishearing of German (“Deutsch”) techniques)

Ok, last subject.

These are two separate pictures where the camera was placed a medium distance from the actors.

One actor at a time.

It feels great because we get to see their expressions.

But, how together do they feel?

Are you sure there’s not a table between them?

What about now?

When two actors are in frame and we’re observing the emotional reaction between them, that’s a two-shot.

Regardless of what they’re discussing or doing or even if they’re in agreement with each other.

A two-shot makes us feel they’re together.

Now, back to this.

It’s a low (they feel more powerful than us)

Dutch angle (and we’re slightly disoriented)

two-shot (and they’re together).

Add story (opening a trunk) and wardrobe (hit-man suits)

and, before anything, we visually feel this is a dangerous image.

In motion, Tarantino delivers.

The shot composition (low, Dutch angle two shot) locks him into a statement on how we should feel.

While the dialogue, props, performances, sound, lighting, wardrobe, set design.

All come to amplify that statement.

Side Note.

These ideas aren’t exclusive to film.

When people hold their camera high and aim down to take a selfie, they want to appear small and harmless.

When people want to look strong, they’ll put the camera low and shoot up.

Here’s another.

Bruce is looking for a powerful weapon to kill a bad guy.

He’s going to find weapons of increasing power.

Watch what Tarantino switches to, to show us Bruce has found the most powerful.

Watch what he switches to, to show us Bruce himself is the most powerful.

These rules are not law.

Leo accepts his career is over.

But, a low angle two shot to empower and hold this fading star (and his stuntman) up with the billboards one last time.

(Read the bottom).

Then, watch what Tarantino swings to, to show, nah.

He’s washed up, lmao.

I don’t know why I tweeted this.

I think I sometimes feel like movies get reduced to whether they’re “good” or “bad”.

That feels as uninteresting as just wondering if LeBron lost or won last night’s game.

To me, watching each play and each move is the fun part.