[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:05.34,0:00:07.50,Default,,0000,0000,0000,,Hi my name is Tony and\Nthis is Every Frame a Painting.
Dialogue: 0,0:00:08.00,0:00:10.39,Default,,0000,0000,0000,,So here’s a fundamental question:
Dialogue: 0,0:00:11.39,0:00:13.88,Default,,0000,0000,0000,,When you’re judging a shot,\Nwhat’s the first thing you look for?
Dialogue: 0,0:00:14.88,0:00:16.00,Default,,0000,0000,0000,,Is it balance?
Dialogue: 0,0:00:16.10,0:00:17.50,Default,,0000,0000,0000,,Leading lines?
Dialogue: 0,0:00:17.50,0:00:19.20,Default,,0000,0000,0000,,Golden ratio?
Dialogue: 0,0:00:19.50,0:00:21.50,Default,,0000,0000,0000,,Color? Light? Shapes?
Dialogue: 0,0:00:21.50,0:00:24.66,Default,,0000,0000,0000,,I think these are all essential,\Nand they’re all part of good images.
Dialogue: 0,0:00:25.00,0:00:27.30,Default,,0000,0000,0000,,But there’s one thing\NI always notice first
Dialogue: 0,0:00:30.10,0:00:31.90,Default,,0000,0000,0000,,Movement
Dialogue: 0,0:00:32.30,0:00:35.44,Default,,0000,0000,0000,,--For me, Kurosawa is the\NBeethoven of movie directors
Dialogue: 0,0:00:35.50,0:00:40.00,Default,,0000,0000,0000,,--It's that recognizable full sound\Nthat Beethoven had
Dialogue: 0,0:00:40.00,0:00:43.94,Default,,0000,0000,0000,,--that is so unmistakable
Dialogue: 0,0:00:44.07,0:00:46.50,Default,,0000,0000,0000,,A Kurosawa film moves like no one else’s
Dialogue: 0,0:00:46.50,0:00:49.50,Default,,0000,0000,0000,,Each one is a masterclass\Nin different types of motion
Dialogue: 0,0:00:49.80,0:00:51.50,Default,,0000,0000,0000,,and also ways to combine them.
Dialogue: 0,0:00:54.50,0:00:57.94,Default,,0000,0000,0000,,Over a career spanning half a century\Nhe made 30 films
Dialogue: 0,0:00:57.94,0:01:00.51,Default,,0000,0000,0000,,and in all of them, the movement\Nis surprising and cinematic.
Dialogue: 0,0:01:09.68,0:01:13.68,Default,,0000,0000,0000,,Wow. If you’d like to see the names\Nof the films, press the CC button below.
Dialogue: 0,0:01:16.27,0:01:19.20,Default,,0000,0000,0000,,So what types of movement did he like?
Dialogue: 0,0:01:19.20,0:01:21.50,Default,,0000,0000,0000,,First, there’s the movement of nature.
Dialogue: 0,0:01:21.50,0:01:23.30,Default,,0000,0000,0000,,In every one of his films,\Nthe background of the shot
Dialogue: 0,0:01:23.30,0:01:24.50,Default,,0000,0000,0000,,features some kind of weather.
Dialogue: 0,0:01:24.50,0:01:25.50,Default,,0000,0000,0000,,Wind
Dialogue: 0,0:01:26.00,0:01:27.00,Default,,0000,0000,0000,,Water
Dialogue: 0,0:01:27.20,0:01:28.20,Default,,0000,0000,0000,,Fire
Dialogue: 0,0:01:28.50,0:01:29.50,Default,,0000,0000,0000,,Smoke
Dialogue: 0,0:01:29.80,0:01:30.80,Default,,0000,0000,0000,,Snow
Dialogue: 0,0:01:31.52,0:01:34.50,Default,,0000,0000,0000,,One advantage of this approach is that\Nshots have a lot of visual interest.
Dialogue: 0,0:01:34.50,0:01:38.51,Default,,0000,0000,0000,,Even when people are still, there’s rain\Nin the background to draw your eye.
Dialogue: 0,0:01:40.80,0:01:45.27,Default,,0000,0000,0000,,--Rain is a real emotional trigger\Nthat works in any film.
Dialogue: 0,0:01:45.27,0:01:47.51,Default,,0000,0000,0000,,--You know, anything that’s excessive\Nbecause it gives you
Dialogue: 0,0:01:47.81,0:01:52.77,Default,,0000,0000,0000,,--another layer that the\Naudience can relate to sensually.
Dialogue: 0,0:01:53.30,0:01:55.28,Default,,0000,0000,0000,,Second, there’s the movement of groups.
Dialogue: 0,0:01:55.28,0:01:59.09,Default,,0000,0000,0000,,Kurosawa films usually feature large\Ngroups of people who band together
Dialogue: 0,0:01:59.09,0:02:00.40,Default,,0000,0000,0000,,or split apart.
Dialogue: 0,0:02:01.90,0:02:05.52,Default,,0000,0000,0000,,Crowds like this are really cinematic.\NWhen you put this many people in a shot,
Dialogue: 0,0:02:05.52,0:02:07.34,Default,,0000,0000,0000,,any emotion feels big.
Dialogue: 0,0:02:09.52,0:02:11.84,Default,,0000,0000,0000,,If you want a good reaction shot,\Ntry using four people
Dialogue: 0,0:02:12.58,0:02:14.38,Default,,0000,0000,0000,,Or twenty-five
Dialogue: 0,0:02:19.18,0:02:21.00,Default,,0000,0000,0000,,And if you want something really big...
Dialogue: 0,0:02:26.83,0:02:29.23,Default,,0000,0000,0000,,Which brings us to #3:\Nthe movement of individuals.
Dialogue: 0,0:02:29.48,0:02:31.31,Default,,0000,0000,0000,,One of my favorite things\Nabout Kurosawa is that
Dialogue: 0,0:02:31.38,0:02:33.61,Default,,0000,0000,0000,,that his blocking is\Nunrealistic and exaggerated.
Dialogue: 0,0:02:37.00,0:02:39.50,Default,,0000,0000,0000,,If someone is nervous,\Nthey pace left and right.
Dialogue: 0,0:02:40.40,0:02:42.30,Default,,0000,0000,0000,,If they’re outraged, \Nthey stand straight up.
Dialogue: 0,0:02:44.80,0:02:45.90,Default,,0000,0000,0000,,And if they’re ashamed…
Dialogue: 0,0:02:49.23,0:02:52.75,Default,,0000,0000,0000,,He would often tell his actors to pick\None gesture for their character
Dialogue: 0,0:02:52.75,0:02:54.45,Default,,0000,0000,0000,,and repeat it throughout the film.
Dialogue: 0,0:02:54.45,0:02:57.50,Default,,0000,0000,0000,,That way, the audience can quickly see\Nwho’s who and how they’re feeling.
Dialogue: 0,0:03:01.30,0:03:03.40,Default,,0000,0000,0000,,Number four: movement of the camera.
Dialogue: 0,0:03:03.40,0:03:06.68,Default,,0000,0000,0000,,One of the hallmarks of Kurosawa’s style\Nare his fluid camera moves
Dialogue: 0,0:03:09.68,0:03:14.68,Default,,0000,0000,0000,,that go from close-up to full shot to\NOTS in a single unbroken take.
Dialogue: 0,0:03:18.85,0:03:21.46,Default,,0000,0000,0000,,I did another essay about these shots,\Ncalled the Spielberg Oner,
Dialogue: 0,0:03:21.46,0:03:24.60,Default,,0000,0000,0000,,but what’s important here is that\Nevery camera move has a clear beginning
Dialogue: 0,0:03:26.00,0:03:27.00,Default,,0000,0000,0000,,middle
Dialogue: 0,0:03:27.50,0:03:28.50,Default,,0000,0000,0000,,and end.
Dialogue: 0,0:03:28.90,0:03:31.30,Default,,0000,0000,0000,,Just by itself,\Nthis camera move tells a story.
Dialogue: 0,0:03:35.01,0:03:37.48,Default,,0000,0000,0000,,And last, there’s movement of the cut.
Dialogue: 0,0:03:37.48,0:03:40.10,Default,,0000,0000,0000,,Kurosawa is one of the few directors\Nwho worked as his own editor.
Dialogue: 0,0:03:40.10,0:03:44.92,Default,,0000,0000,0000,,One of the reasons his movies just flow\Nis that he tends to cut on movement.
Dialogue: 0,0:03:45.50,0:03:48.30,Default,,0000,0000,0000,,Often, you’re paying so much attention\Nto someone who's moving
Dialogue: 0,0:03:49.30,0:03:51.30,Default,,0000,0000,0000,,that you don’t see the edit.
Dialogue: 0,0:03:51.30,0:03:53.30,Default,,0000,0000,0000,,When he finishes the scene,\Nhe switches the rhythm
Dialogue: 0,0:03:53.30,0:03:55.30,Default,,0000,0000,0000,,usually by ending on something static.
Dialogue: 0,0:03:59.100,0:04:02.18,Default,,0000,0000,0000,,and then cutting straight into movement.
Dialogue: 0,0:04:02.18,0:04:04.40,Default,,0000,0000,0000,,By switching up the rhythm,\Nhe keeps you on your toes,
Dialogue: 0,0:04:04.40,0:04:06.30,Default,,0000,0000,0000,,because you can’t guess the next cut.
Dialogue: 0,0:04:10.97,0:04:14.36,Default,,0000,0000,0000,,So with all that, let’s break down\None scene and study the motion.
Dialogue: 0,0:04:14.80,0:04:17.60,Default,,0000,0000,0000,,This scene is from Seven Samurai.\NI won't tell you what it’s about.
Dialogue: 0,0:04:18.30,0:04:20.94,Default,,0000,0000,0000,,See how long it takes you\Nto figure it out. Ready?
Dialogue: 0,0:04:21.94,0:04:25.00,Default,,0000,0000,0000,,The first shot shows the whole village,\Nthen just the important characters
Dialogue: 0,0:04:25.00,0:04:26.30,Default,,0000,0000,0000,,then just the samurai.
Dialogue: 0,0:04:26.69,0:04:27.50,Default,,0000,0000,0000,,Right about here...
Dialogue: 0,0:04:31.00,0:04:32.15,Default,,0000,0000,0000,,most people get what’s happening.
Dialogue: 0,0:04:32.70,0:04:36.40,Default,,0000,0000,0000,,As Kikuchiyo sits down his mood ripples\Noutwards to affect the whole village.
Dialogue: 0,0:04:37.70,0:04:41.11,Default,,0000,0000,0000,,Notice how much the wind adds to the\Nscene. Even when people are still
Dialogue: 0,0:04:41.11,0:04:43.30,Default,,0000,0000,0000,,there’s that little bit of wind\Nto spice up the frame.
Dialogue: 0,0:04:45.99,0:04:47.65,Default,,0000,0000,0000,,So that’s pretty straightforward.
Dialogue: 0,0:04:47.65,0:04:51.37,Default,,0000,0000,0000,,Now let’s jump 60 years into the future.\NThis is The Avengers.
Dialogue: 0,0:04:51.37,0:04:54.77,Default,,0000,0000,0000,,Here, we start with a camera move into\Nan establishing shot. But this time...
Dialogue: 0,0:04:55.77,0:04:57.77,Default,,0000,0000,0000,,--These were in Phil Coulson's jacket.
Dialogue: 0,0:04:59.55,0:05:01.63,Default,,0000,0000,0000,,We get dialogue right away.
Dialogue: 0,0:05:01.63,0:05:05.09,Default,,0000,0000,0000,,Throughout this scene, the only things\Nthat move are the camera and Nick Fury.
Dialogue: 0,0:05:05.09,0:05:07.50,Default,,0000,0000,0000,,Even though we have weather outside and\Nactors in the background
Dialogue: 0,0:05:07.50,0:05:08.80,Default,,0000,0000,0000,,none of them are used.
Dialogue: 0,0:05:09.50,0:05:11.80,Default,,0000,0000,0000,,Notice that the camera movement doesn’t\Nhave a beginning or an end.
Dialogue: 0,0:05:12.62,0:05:17.28,Default,,0000,0000,0000,,And there’s no variation. Each shot\Ngoes in the exact same direction
Dialogue: 0,0:05:17.28,0:05:18.50,Default,,0000,0000,0000,,--Maybe I had that coming.
Dialogue: 0,0:05:19.28,0:05:21.25,Default,,0000,0000,0000,,But in Seven Samurai...
Dialogue: 0,0:05:21.25,0:05:24.50,Default,,0000,0000,0000,,The camera moves have a distinct\Nbeginning middle and end.
Dialogue: 0,0:05:25.00,0:05:28.00,Default,,0000,0000,0000,,And each shot changes \Ndirection from the previous one.
Dialogue: 0,0:05:28.00,0:05:30.50,Default,,0000,0000,0000,,As he climbs up, Kurosawa uses\Nthe movement of the flag
Dialogue: 0,0:05:31.50,0:05:34.13,Default,,0000,0000,0000,,to cut smoothly into this angle:
Dialogue: 0,0:05:34.13,0:05:36.80,Default,,0000,0000,0000,,all seven samurai and\Ntheir banner, together.
Dialogue: 0,0:05:43.82,0:05:45.60,Default,,0000,0000,0000,,This scene has every type of movement
Dialogue: 0,0:05:45.60,0:05:47.20,Default,,0000,0000,0000,,carefully pieced together\Nand spaced throughout.
Dialogue: 0,0:05:47.60,0:05:48.30,Default,,0000,0000,0000,,The weather.
Dialogue: 0,0:05:48.50,0:05:49.30,Default,,0000,0000,0000,,The group.
Dialogue: 0,0:05:49.50,0:05:50.30,Default,,0000,0000,0000,,The individual.
Dialogue: 0,0:05:50.50,0:05:51.30,Default,,0000,0000,0000,,The camera.
Dialogue: 0,0:05:51.50,0:05:52.30,Default,,0000,0000,0000,,The cut.
Dialogue: 0,0:05:54.01,0:05:56.44,Default,,0000,0000,0000,,But this scene tells its story\Nmostly through dialogue
Dialogue: 0,0:05:57.50,0:05:59.44,Default,,0000,0000,0000,,--called the Avengers Initiative.
Dialogue: 0,0:05:59.44,0:06:03.52,Default,,0000,0000,0000,,Sure, the camera moves.\NBut it’s pointless movement.
Dialogue: 0,0:06:03.52,0:06:06.30,Default,,0000,0000,0000,,For all the money that was put into it,\Nthis scene feels flat
Dialogue: 0,0:06:07.00,0:06:09.20,Default,,0000,0000,0000,,--It's an old-fashioned notion.
Dialogue: 0,0:06:09.57,0:06:12.23,Default,,0000,0000,0000,,But how could you improve this scene?\NWell...
Dialogue: 0,0:06:12.23,0:06:15.94,Default,,0000,0000,0000,,if you know what the scene’s about,\Ntry to express it through movement.
Dialogue: 0,0:06:16.94,0:06:19.30,Default,,0000,0000,0000,,Start with the character.\NHow are they feeling?
Dialogue: 0,0:06:19.30,0:06:21.68,Default,,0000,0000,0000,,Is there any way the actor\Ncan convey that by moving?
Dialogue: 0,0:06:24.30,0:06:27.29,Default,,0000,0000,0000,,Okay, maybe that's too much.\NLet’s be more subtle.
Dialogue: 0,0:06:28.00,0:06:30.00,Default,,0000,0000,0000,,Take the feeling that’s\Ninside the character
Dialogue: 0,0:06:30.00,0:06:31.54,Default,,0000,0000,0000,,and bring it out\Nthrough the background.
Dialogue: 0,0:06:31.54,0:06:34.54,Default,,0000,0000,0000,,If a character is angry and menacing,\Nyou can do this
Dialogue: 0,0:06:38.77,0:06:40.65,Default,,0000,0000,0000,,Or if she's simmering\Nwith resentment.
Dialogue: 0,0:06:43.65,0:06:46.65,Default,,0000,0000,0000,,Another option is to contrast\None person against the group.
Dialogue: 0,0:06:46.65,0:06:49.54,Default,,0000,0000,0000,,So if somebody suffers a very\Npublic humiliation, this works.
Dialogue: 0,0:06:51.54,0:06:53.19,Default,,0000,0000,0000,,Or if they’re looking for\Na needle in a haystack
Dialogue: 0,0:06:54.98,0:06:56.51,Default,,0000,0000,0000,,You can use camera movement\Nto convey excitement
Dialogue: 0,0:06:57.51,0:06:59.69,Default,,0000,0000,0000,,You can cut on movement\Nto show surprise
Dialogue: 0,0:07:03.20,0:07:06.20,Default,,0000,0000,0000,,And you can combine every type of motion\Ninto one amazing image
Dialogue: 0,0:07:09.82,0:07:13.00,Default,,0000,0000,0000,,By the way, you don’t need to put every\Ntype of movement in every shot.
Dialogue: 0,0:07:13.00,0:07:14.00,Default,,0000,0000,0000,,That’s just tiring.
Dialogue: 0,0:07:16.68,0:07:19.42,Default,,0000,0000,0000,,But there’s a nice middle ground with\Nlots of variation and subtlety
Dialogue: 0,0:07:19.42,0:07:22.26,Default,,0000,0000,0000,,and you won’t know what\Nworks best until you try it.
Dialogue: 0,0:07:25.26,0:07:28.26,Default,,0000,0000,0000,,If you combine the right motion\Nand the right emotion
Dialogue: 0,0:07:28.60,0:07:30.26,Default,,0000,0000,0000,,you get something cinematic.
Dialogue: 0,0:07:31.08,0:07:35.00,Default,,0000,0000,0000,,--But just for me, I look at his movies\Ntwo or three times a year
Dialogue: 0,0:07:36.50,0:07:40.08,Default,,0000,0000,0000,,--just to feel, oh wow, that’s why\NI wanted to be a filmmaker
Dialogue: 0,0:07:40.08,0:07:41.80,Default,,0000,0000,0000,,--and look what I’m doing now.
Dialogue: 0,0:07:43.90,0:07:47.30,Default,,0000,0000,0000,,--Special effects, and then\Nanother movie about special effects
Dialogue: 0,0:07:47.50,0:07:50.50,Default,,0000,0000,0000,,--and then a third movie\Nabout special effects.
Dialogue: 0,0:07:51.13,0:07:53.50,Default,,0000,0000,0000,,Now pick any of his films.\NGo to any scene.
Dialogue: 0,0:07:54.30,0:07:56.46,Default,,0000,0000,0000,,And watch how everything moves together
Dialogue: 0,0:07:58.00,0:08:01.50,Default,,0000,0000,0000,,--You know, it’s the visual stimulation\Nthat hits the audience.
Dialogue: 0,0:08:02.00,0:08:04.02,Default,,0000,0000,0000,,That’s the reason for film.
Dialogue: 0,0:08:04.02,0:08:07.00,Default,,0000,0000,0000,,Otherwise, we should just\Nturn the light out and call it radio.