David Fincher - And the Other Way is Wrong
Here’s an interesting little video essay by Tony Zhou about David Fincher’s style of directing and composition.
On his lack of handheld camera work:
I just love the idea of this omniscience. Like, the camera, it just goes over here kind of perfectly, and it goes over there kind of perfectly. It doesn’t have any personality, but it’s very much like what’s happening was doomed to happen.
Every time you go to a closeup, the audience knows, “Look at this. This is important.” You have to be very very cautious and careful about when you choose to do it.
On wide, status shots:
I want to present in as wide a frame and in as unloaded a situation as possible — a kind of simple, proscenium way. This is what’s going on. This is what this guy sees.
The focus on eyes emphasises the overall desperation for secrets and trust that characterises both the FBI and the criminals. On close ups, having Jodie Foster look slightly off camera and all the other actors straight on, subtly highlights the fact that most of the film is from Clarice’s point of view and that others struggle to know her intimately. When she finally confides in Lecter and tells him about her childhood and the lambs, she looks straight into the camera for one of the first times [x]
(Source: kissthefuture, via adsertoris)