[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:05.29,0:00:08.74,Default,,0000,0000,0000,,Hi, my name is Tony,\Nand this is Every Frame a Painting.
Dialogue: 0,0:00:10.96,0:00:14.36,Default,,0000,0000,0000,,There's a quote that I love\Nfrom Alexander Mackendrick. He said :\N
Dialogue: 0,0:00:14.36,0:00:18.09,Default,,0000,0000,0000,,{\i1}"What a film director really directs\Nis the audience attention ...{\i0}
Dialogue: 0,0:00:21.96,0:00:24.04,Default,,0000,0000,0000,,{\i1}... Directing is a matter of emphasis ...{\i0}
Dialogue: 0,0:00:25.08,0:00:27.07,Default,,0000,0000,0000,,{\i1}... You emphasize what is important ...{\i0}
Dialogue: 0,0:00:29.77,0:00:32.20,Default,,0000,0000,0000,,{\i1}... by under-emphasizing\Nwhat is less so."{\i0}
Dialogue: 0,0:00:36.19,0:00:39.96,Default,,0000,0000,0000,,These days, most directors create emphasis\Nby cutting from close-up ...
Dialogue: 0,0:00:40.20,0:00:41.23,Default,,0000,0000,0000,,... to close up ...
Dialogue: 0,0:00:41.40,0:00:42.36,Default,,0000,0000,0000,,... to close up.
Dialogue: 0,0:00:42.86,0:00:45.94,Default,,0000,0000,0000,,But too much coverage is exhausting,\Nespecially for the actors.
Dialogue: 0,0:00:46.23,0:00:49.07,Default,,0000,0000,0000,,{\i1}- And say, oh, so now,\Nyou're gonne be a mechanic,{\i0}
Dialogue: 0,0:00:49.07,0:00:53.98,Default,,0000,0000,0000,,{\i1}so you should master close, close, closer,\Nover, over, over ...{\i0}
Dialogue: 0,0:00:54.74,0:00:57.42,Default,,0000,0000,0000,,{\i1}I go hard lining, and say "Look,\NI'm not gonna do that.",{\i0}
Dialogue: 0,0:00:57.42,0:01:01.28,Default,,0000,0000,0000,,{\i1}because you already got\Neverything you need to tell the audience{\i0}
Dialogue: 0,0:01:01.28,0:01:03.77,Default,,0000,0000,0000,,{\i1}what they need to know\Nabout what's happening here.{\i0}
Dialogue: 0,0:01:04.04,0:01:07.60,Default,,0000,0000,0000,,So today, let's consider a different option.\NInstead of standard coverage,
Dialogue: 0,0:01:07.60,0:01:09.78,Default,,0000,0000,0000,,let's put all the actors\Nin the same frame,
Dialogue: 0,0:01:09.78,0:01:11.26,Default,,0000,0000,0000,,and let them perform together.
Dialogue: 0,0:01:11.53,0:01:14.34,Default,,0000,0000,0000,,In other words, let's talk about\N'ensemble staging'.
Dialogue: 0,0:01:20.97,0:01:24.72,Default,,0000,0000,0000,,Ensemble staging is all about\Ncreating emphasis without using a cut
Dialogue: 0,0:01:25.44,0:01:29.46,Default,,0000,0000,0000,,The first thing to remember is that\Nwe naturally look at whoever is speaking ...
Dialogue: 0,0:01:31.57,0:01:33.34,Default,,0000,0000,0000,,and whoever is being spoken to.
Dialogue: 0,0:01:34.30,0:01:36.54,Default,,0000,0000,0000,,This is often combined with\Na second technique :
Dialogue: 0,0:01:36.65,0:01:39.51,Default,,0000,0000,0000,,if someone is more important, \Nput them closer to the light,
Dialogue: 0,0:01:40.04,0:01:41.76,Default,,0000,0000,0000,,or closer to the lens.
Dialogue: 0,0:01:43.30,0:01:46.61,Default,,0000,0000,0000,,If you want someone to be less noticeable,\Nmove them further away,
Dialogue: 0,0:01:47.05,0:01:48.59,Default,,0000,0000,0000,,maybe out of focus.
Dialogue: 0,0:01:54.19,0:01:57.81,Default,,0000,0000,0000,,Of course, attention is relative.\NSometimes, you can get the audience
Dialogue: 0,0:01:57.81,0:02:00.24,Default,,0000,0000,0000,,to look at something,\Neven when it's out of focus.
Dialogue: 0,0:02:03.80,0:02:05.28,Default,,0000,0000,0000,,By having it move.
Dialogue: 0,0:02:07.71,0:02:10.47,Default,,0000,0000,0000,,We're especially aware\Nwhen somebody moves their hands ...
Dialogue: 0,0:02:11.68,0:02:13.18,Default,,0000,0000,0000,,or moves their eyes.
Dialogue: 0,0:02:14.45,0:02:18.76,Default,,0000,0000,0000,,You can also guide the audience by putting\Nsomething close to the center of the frame.
Dialogue: 0,0:02:21.100,0:02:24.46,Default,,0000,0000,0000,,In fact, this is one of the film's\Nrunning jokes.
Dialogue: 0,0:02:24.71,0:02:26.87,Default,,0000,0000,0000,,Characters in the middle of the shot ...
Dialogue: 0,0:02:28.59,0:02:30.52,Default,,0000,0000,0000,,... who keep attacking the suspects.
Dialogue: 0,0:02:33.81,0:02:36.74,Default,,0000,0000,0000,,Which brings us to #5 :\Nthe body position of the actors.
Dialogue: 0,0:02:37.24,0:02:40.06,Default,,0000,0000,0000,,How are the characters turned\Nin relation to the lens ?
Dialogue: 0,0:02:40.24,0:02:43.07,Default,,0000,0000,0000,,Do we see their whole face ...\Nor 3/4 ?
Dialogue: 0,0:02:43.94,0:02:48.21,Default,,0000,0000,0000,,Is it a profile ... or another angle\Nwhere we don't see the face at all ?
Dialogue: 0,0:02:49.07,0:02:52.86,Default,,0000,0000,0000,,When you have multiple actors in a shot,\Nit's important to have some variation.
Dialogue: 0,0:02:53.13,0:02:56.82,Default,,0000,0000,0000,,The audience doesn't need to look at\Na character right now : turn him around.
Dialogue: 0,0:02:57.33,0:02:59.81,Default,,0000,0000,0000,,Notice how by doing this,\Nyou're creating contrast.
Dialogue: 0,0:03:00.11,0:03:03.97,Default,,0000,0000,0000,,The 3 cops on the right face each other,\Nwhile detective Seo looks elsewhere.
Dialogue: 0,0:03:04.66,0:03:08.67,Default,,0000,0000,0000,,In fact, for the first half-hour, he's\Nconstantly placed away from the main group,
Dialogue: 0,0:03:08.75,0:03:11.58,Default,,0000,0000,0000,,looking at documents\Nthat everyone else is ignoring.
Dialogue: 0,0:03:12.73,0:03:14.25,Default,,0000,0000,0000,,This bring us to #7 :
Dialogue: 0,0:03:16.35,0:03:18.24,Default,,0000,0000,0000,,Subtly moving the camera.
Dialogue: 0,0:03:19.35,0:03:22.75,Default,,0000,0000,0000,,Here watch out the shot\Nnarrow our focus from 4 characters ...
Dialogue: 0,0:03:26.39,0:03:29.51,Default,,0000,0000,0000,,... down to 2.\NWhile here, our attention moves
Dialogue: 0,0:03:29.51,0:03:34.96,Default,,0000,0000,0000,,from one side of the argument, to the other,\Nfore-settling on the eventual winner.
Dialogue: 0,0:03:38.19,0:03:41.69,Default,,0000,0000,0000,,And last of all, don't forget that\Nhuman beings are social creatures :
Dialogue: 0,0:03:41.86,0:03:44.32,Default,,0000,0000,0000,,We look where other people are looking.
Dialogue: 0,0:03:49.75,0:03:54.03,Default,,0000,0000,0000,,So with all that, let's consider why Bong Joon-ho\Nwould stage something as an ensemble.
Dialogue: 0,0:03:54.56,0:03:56.82,Default,,0000,0000,0000,,This is my favourite shot\Nin the entire film.
Dialogue: 0,0:04:01.11,0:04:04.53,Default,,0000,0000,0000,,At first we think it's one story,\Nan argument between two cops.
Dialogue: 0,0:04:05.01,0:04:08.15,Default,,0000,0000,0000,,And Bong seems to do very little.\NHe just lets our attention move
Dialogue: 0,0:04:08.15,0:04:11.43,Default,,0000,0000,0000,,from detective Park ...\Nto detective Seo.
Dialogue: 0,0:04:15.79,0:04:18.50,Default,,0000,0000,0000,,But in the center of frame,\Nsomething catches our eye,
Dialogue: 0,0:04:18.50,0:04:21.56,Default,,0000,0000,0000,,and we realize another character,\Ndetective Cho, is making out
Dialogue: 0,0:04:21.56,0:04:23.12,Default,,0000,0000,0000,,with the hostess in the back.
Dialogue: 0,0:04:23.90,0:04:26.93,Default,,0000,0000,0000,,So now we have 2 stories :\Nforeground & background.
Dialogue: 0,0:04:27.15,0:04:30.47,Default,,0000,0000,0000,,And Bong plays them against each other,\Nto contrast the serious ...
Dialogue: 0,0:04:34.98,0:04:38.96,Default,,0000,0000,0000,,... with the silly. As the scene builds,\Nhe slowly pushes the camera in,
Dialogue: 0,0:04:39.10,0:04:42.45,Default,,0000,0000,0000,,which hides the 2 women,\Nand focus our attention on the main pair.
Dialogue: 0,0:04:46.02,0:04:48.80,Default,,0000,0000,0000,,And he lets the actors use their hands\Nto tell the story,
Dialogue: 0,0:04:48.82,0:04:51.59,Default,,0000,0000,0000,,especially when the argument\Nreaches his breaking point.
Dialogue: 0,0:04:57.20,0:04:59.55,Default,,0000,0000,0000,,But suddenly, the chief enters the scene.
Dialogue: 0,0:05:02.42,0:05:05.47,Default,,0000,0000,0000,,This is the moment when\Nthe ensemble staging pays off.
Dialogue: 0,0:05:05.72,0:05:09.58,Default,,0000,0000,0000,,We have an unexpected third story, and\Nit interrupts both of the others.
Dialogue: 0,0:05:17.87,0:05:18.98,Default,,0000,0000,0000,,With a joke.
Dialogue: 0,0:05:20.36,0:05:22.98,Default,,0000,0000,0000,,From now on, the rest of the scene\Nis the third story,
Dialogue: 0,0:05:22.98,0:05:26.06,Default,,0000,0000,0000,,as the chief outlines his plan\Nto catch the serial killer.
Dialogue: 0,0:05:30.74,0:05:34.41,Default,,0000,0000,0000,,But why do this in one shot ?\NI think it underscores the theme.
Dialogue: 0,0:05:37.14,0:05:41.09,Default,,0000,0000,0000,,The first story is a petty argument.\NThe second story is just lust.
Dialogue: 0,0:05:42.07,0:05:45.17,Default,,0000,0000,0000,,None of these cops is doing work,\Nthey're all being selfish.
Dialogue: 0,0:05:45.41,0:05:49.55,Default,,0000,0000,0000,,It's not until the third story that\Nthey think about the victims and the case.\N
Dialogue: 0,0:05:53.33,0:05:56.37,Default,,0000,0000,0000,,The chief literally provides\Nthe moral center of the frame.
Dialogue: 0,0:05:56.60,0:05:58.83,Default,,0000,0000,0000,,And if Bong had shot this scene\Nwith coverage,
Dialogue: 0,0:05:58.85,0:06:01.69,Default,,0000,0000,0000,,we wouldn't see the connection\Nbetween the first story ...\N
Dialogue: 0,0:06:03.89,0:06:06.44,Default,,0000,0000,0000,,... and the second.\NAnd from both stories ...
Dialogue: 0,0:06:09.68,0:06:10.67,Default,,0000,0000,0000,,... to the third.
Dialogue: 0,0:06:10.92,0:06:14.02,Default,,0000,0000,0000,,This is the kind of directing that is\Nunbelievably rare today,
Dialogue: 0,0:06:14.02,0:06:16.100,Default,,0000,0000,0000,,and it shows the value of\Nplaying a scene as an ensemble,
Dialogue: 0,0:06:16.100,0:06:19.37,Default,,0000,0000,0000,,rather than cutting\Nfrom one face to another.
Dialogue: 0,0:06:19.64,0:06:24.24,Default,,0000,0000,0000,,{\i1}- Because sometimes, I just want to stay\Nin that particular place, with the actors,{\i0}
Dialogue: 0,0:06:24.24,0:06:29.01,Default,,0000,0000,0000,,{\i1}and let the actors settle it,\Nand not let you help me tell the story{\i0}
Dialogue: 0,0:06:29.01,0:06:32.19,Default,,0000,0000,0000,,{\i1}by getting closer to my face.\NJust let me do it.{\i0}