[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.48,0:00:07.40,Default,,0000,0000,0000,,Hi my name is Tony\Nand this is Every Frame a Painting.
Dialogue: 0,0:00:08.29,0:00:11.10,Default,,0000,0000,0000,,The most basic thing we have\Nin film grammar is probably this:
Dialogue: 0,0:00:12.10,0:00:12.80,Default,,0000,0000,0000,,Shot
Dialogue: 0,0:00:13.75,0:00:14.52,Default,,0000,0000,0000,,Reverse shot
Dialogue: 0,0:00:15.56,0:00:17.30,Default,,0000,0000,0000,,Nearly everything you watch\Nis going to be
Dialogue: 0,0:00:21.73,0:00:24.45,Default,,0000,0000,0000,,Nearly everything you watch\Nis going to be filled with it.
Dialogue: 0,0:00:24.45,0:00:27.74,Default,,0000,0000,0000,,And most filmmakers seem to use it\Nas a quick way to record dialogue.
Dialogue: 0,0:00:28.10,0:00:30.57,Default,,0000,0000,0000,,Keep the actors still,\Nuse multiple cameras
Dialogue: 0,0:00:30.57,0:00:33.25,Default,,0000,0000,0000,,shoot ten takes,\Nand then make decisions in post.
Dialogue: 0,0:00:33.96,0:00:37.40,Default,,0000,0000,0000,,But I think shot | reverse shot is still\Npowerful when it's done precisely
Dialogue: 0,0:00:37.80,0:00:40.80,Default,,0000,0000,0000,,And a good example of that\Nis the work of Joel & Ethan Coen.
Dialogue: 0,0:00:41.50,0:00:44.20,Default,,0000,0000,0000,,-"We thought you was..."
Dialogue: 0,0:00:45.38,0:00:47.00,Default,,0000,0000,0000,,-"...a toad."
Dialogue: 0,0:00:47.84,0:00:53.58,Default,,0000,0000,0000,,Because the Coens are masters of the dialogue scene \Nand they’ve done it by keeping their shots simple but precise.
Dialogue: 0,0:00:54.18,0:00:55.99,Default,,0000,0000,0000,,-"Can I share something with you?"
Dialogue: 0,0:00:56.69,0:00:59.23,Default,,0000,0000,0000,,So today, let’s reconsider\Nshot | reverse shot.
Dialogue: 0,0:00:59.60,0:01:02.29,Default,,0000,0000,0000,,What can we learn from\Nthe way the Coens use it?
Dialogue: 0,0:01:02.29,0:01:04.24,Default,,0000,0000,0000,,-"But let me ask you a question..."
Dialogue: 0,0:01:04.24,0:01:06.60,Default,,0000,0000,0000,,-"Would an imbecile come up with this?"
Dialogue: 0,0:01:10.43,0:01:12.66,Default,,0000,0000,0000,,One of the first things\Nyou notice about the Coens is that
Dialogue: 0,0:01:12.66,0:01:16.31,Default,,0000,0000,0000,,they like to film dialogue from\Ninside the space of the conversation.
Dialogue: 0,0:01:16.60,0:01:19.76,Default,,0000,0000,0000,,And that means the camera is\Nusually in between the two characters
Dialogue: 0,0:01:19.80,0:01:21.46,Default,,0000,0000,0000,,so that they each get separate shots.
Dialogue: 0,0:01:22.40,0:01:24.10,Default,,0000,0000,0000,,-"Do I make myself clear?"
Dialogue: 0,0:01:24.65,0:01:27.10,Default,,0000,0000,0000,,In other words,\Nthey shoot a lot of singles.
Dialogue: 0,0:01:27.75,0:01:29.22,Default,,0000,0000,0000,,-"I’m sorry. I wasn’t listening."
Dialogue: 0,0:01:32.30,0:01:35.50,Default,,0000,0000,0000,,Other filmmakers, like Paul Greengrass,\Nprefer the camera behind the characters
Dialogue: 0,0:01:35.80,0:01:39.20,Default,,0000,0000,0000,,Usually on a very long lens,\Nso you feel like you’re spying
Dialogue: 0,0:01:39.32,0:01:41.00,Default,,0000,0000,0000,,-"I want to know what happened"\N-"What happened?"
Dialogue: 0,0:01:41.31,0:01:43.40,Default,,0000,0000,0000,,-"Jason Bourne happened.\NYou got the files."
Dialogue: 0,0:01:44.51,0:01:46.00,Default,,0000,0000,0000,,-"Then let’s cut the crap."
Dialogue: 0,0:01:46.20,0:01:48.50,Default,,0000,0000,0000,,The Coens and Roger Deakins\Ndon’t do this.
Dialogue: 0,0:01:48.90,0:01:51.50,Default,,0000,0000,0000,,In fact, they film\Nalmost exclusively on wide lenses
Dialogue: 0,0:01:51.65,0:01:55.00,Default,,0000,0000,0000,,-"Well I’ve got a very strong feeling\Nabout lenses and personally..."
Dialogue: 0,0:01:55.50,0:01:58.90,Default,,0000,0000,0000,,-"...I’m sitting here talking to you and\Nyou’re filming me from over there..."
Dialogue: 0,0:01:58.95,0:02:02.22,Default,,0000,0000,0000,,-"...on a shoulder on probably a single.\NWhere, I’d rarely do that."
Dialogue: 0,0:02:02.42,0:02:04.59,Default,,0000,0000,0000,,-"Cause I think, you know, the camera\Nwants to be..."
Dialogue: 0,0:02:04.70,0:02:07.30,Default,,0000,0000,0000,,-"To me,\NI would shoot singles inside here."
Dialogue: 0,0:02:07.50,0:02:11.26,Default,,0000,0000,0000,,And if you do this, switch to\Na wider lens and bring the camera closer
Dialogue: 0,0:02:11.36,0:02:12.33,Default,,0000,0000,0000,,it feels like…
Dialogue: 0,0:02:12.53,0:02:15.20,Default,,0000,0000,0000,,-"It’s different right? You know,\Nthere’s a sense of presence..."
Dialogue: 0,0:02:15.40,0:02:17.40,Default,,0000,0000,0000,,-"You’re right there with somebody,\Nas opposed to being…"
Dialogue: 0,0:02:17.50,0:02:21.40,Default,,0000,0000,0000,,-"...I think psychologically,\Nit’s a totally different effect so…"
Dialogue: 0,0:02:21.80,0:02:23.30,Default,,0000,0000,0000,,But what is the psychological effect?
Dialogue: 0,0:02:23.85,0:02:27.20,Default,,0000,0000,0000,,If a long lens feels like you’re spying,\Nthen how does this lens make you feel?
Dialogue: 0,0:02:27.80,0:02:29.69,Default,,0000,0000,0000,,-"Look, look, something is very wrong!"
Dialogue: 0,0:02:30.20,0:02:32.20,Default,,0000,0000,0000,,-"I don’t want Santana 'Abraxas.'"
Dialogue: 0,0:02:32.30,0:02:34.80,Default,,0000,0000,0000,,-"I’ve just been in\Na terrible auto accident!"
Dialogue: 0,0:02:37.39,0:02:38.45,Default,,0000,0000,0000,,I would say it’s two feelings:
Dialogue: 0,0:02:38.55,0:02:40.20,Default,,0000,0000,0000,,kind of uncomfortable…
Dialogue: 0,0:02:43.45,0:02:44.66,Default,,0000,0000,0000,,and kind of funny.
Dialogue: 0,0:02:45.20,0:02:45.95,Default,,0000,0000,0000,,And it fits.
Dialogue: 0,0:02:46.66,0:02:49.25,Default,,0000,0000,0000,,Because the Coens\Nlike to isolate individuals
Dialogue: 0,0:02:49.46,0:02:52.45,Default,,0000,0000,0000,,trapping them in situations that\Nthey really have no control over.
Dialogue: 0,0:02:53.75,0:02:55.20,Default,,0000,0000,0000,,And because the lens is right here...
Dialogue: 0,0:02:55.30,0:02:57.50,Default,,0000,0000,0000,,-"Now we had a deal here.\NA deal’s a deal."
Dialogue: 0,0:02:57.70,0:03:01.34,Default,,0000,0000,0000,,-"Is it Jerry? You ask those three poor\Nsouls up in Brainerd if a deal’s a deal"
Dialogue: 0,0:03:01.94,0:03:03.61,Default,,0000,0000,0000,,You’re trapped with them.
Dialogue: 0,0:03:03.80,0:03:05.25,Default,,0000,0000,0000,,The other effect is visual.
Dialogue: 0,0:03:05.61,0:03:08.79,Default,,0000,0000,0000,,The Coens shoot mostly\Non a 27mm or 32mm lens
Dialogue: 0,0:03:08.91,0:03:11.89,Default,,0000,0000,0000,,and they often push in to exaggerate\Nsome part of an actor’s face.
Dialogue: 0,0:03:12.89,0:03:15.59,Default,,0000,0000,0000,,-"Frank Raffo, my brother-in-law,\Nwas the principal barber."
Dialogue: 0,0:03:15.70,0:03:17.39,Default,,0000,0000,0000,,-"And man, could he talk."
Dialogue: 0,0:03:18.29,0:03:20.43,Default,,0000,0000,0000,,Using wide lenses doesn’t just\Nexaggerate the face...
Dialogue: 0,0:03:20.70,0:03:25.29,Default,,0000,0000,0000,,...it also exaggerates forward camera\Nmovement, like dollying into a close-up.
Dialogue: 0,0:03:25.80,0:03:26.89,Default,,0000,0000,0000,,-"Also a sense of action."
Dialogue: 0,0:03:27.00,0:03:30.24,Default,,0000,0000,0000,,-"Like if I bring my hand closer or\Nfurther from the camera..."
Dialogue: 0,0:03:30.40,0:03:32.34,Default,,0000,0000,0000,,-"...the wide-angle lens is going\Nto have much more effect."
Dialogue: 0,0:03:32.89,0:03:34.94,Default,,0000,0000,0000,,-"And even if I’m shifting, like this."
Dialogue: 0,0:03:36.30,0:03:38.95,Default,,0000,0000,0000,,-"Maybes don’t make it so."
Dialogue: 0,0:03:39.50,0:03:41.30,Default,,0000,0000,0000,,-"It’s going to feel more alive,\Nmore edgy."
Dialogue: 0,0:03:43.30,0:03:46.33,Default,,0000,0000,0000,,-"What, are you kidding?\NWe got us a family here!"
Dialogue: 0,0:03:46.70,0:03:48.20,Default,,0000,0000,0000,,But the third effect of\Nshooting singles this way...
Dialogue: 0,0:03:50.20,0:03:51.40,Default,,0000,0000,0000,,...is environmental.
Dialogue: 0,0:03:52.10,0:03:53.69,Default,,0000,0000,0000,,Shots like this have a nice balance...
Dialogue: 0,0:03:53.83,0:03:56.39,Default,,0000,0000,0000,,...between the character\Nand everything around her.
Dialogue: 0,0:03:57.29,0:04:00.35,Default,,0000,0000,0000,,-"I’d be very surprised\Nif our suspect was from Brainerd."
Dialogue: 0,0:04:00.45,0:04:01.45,Default,,0000,0000,0000,,-"Yah."
Dialogue: 0,0:04:01.70,0:04:04.25,Default,,0000,0000,0000,,And it helps us get a quick read\Non very minor characters.
Dialogue: 0,0:04:04.80,0:04:08.60,Default,,0000,0000,0000,,Think about how well you know this woman\Njust from her clothes and her workspace.
Dialogue: 0,0:04:09.79,0:04:12.48,Default,,0000,0000,0000,,-"We can’t give out no information."
Dialogue: 0,0:04:15.29,0:04:17.28,Default,,0000,0000,0000,,But what really distinguishes the Coens
Dialogue: 0,0:04:17.49,0:04:19.28,Default,,0000,0000,0000,,...is the rhythm of their editing.
Dialogue: 0,0:04:19.35,0:04:20.50,Default,,0000,0000,0000,,-"We depress the stock."
Dialogue: 0,0:04:20.79,0:04:23.00,Default,,0000,0000,0000,,-"To the point where we can buy 50%"\N-"51."
Dialogue: 0,0:04:23.20,0:04:24.40,Default,,0000,0000,0000,,-"Not counting the mezzanine."
Dialogue: 0,0:04:24.45,0:04:26.00,Default,,0000,0000,0000,,-"It could work!"\N-"It should work!"
Dialogue: 0,0:04:26.20,0:04:28.40,Default,,0000,0000,0000,,-"It would work!"\N-"It’s working already!"
Dialogue: 0,0:04:29.18,0:04:31.64,Default,,0000,0000,0000,,Many people think the rhythm\Ncomes from their dialogue.
Dialogue: 0,0:04:31.98,0:04:33.60,Default,,0000,0000,0000,,But the rhythm is actually nonverbal.
Dialogue: 0,0:04:43.14,0:04:45.77,Default,,0000,0000,0000,,Sometimes, to feel the rhythm,\Nyou have to see it done badly.
Dialogue: 0,0:04:45.97,0:04:48.20,Default,,0000,0000,0000,,This is a film they wrote\Nbut didn’t direct.
Dialogue: 0,0:04:48.20,0:04:51.58,Default,,0000,0000,0000,,Watch the awkward pause\Nbetween two lines of dialogue.
Dialogue: 0,0:04:52.00,0:04:53.48,Default,,0000,0000,0000,,-"Not that I judge."
Dialogue: 0,0:04:53.96,0:04:55.28,Default,,0000,0000,0000,,-"How terribly interesting."
Dialogue: 0,0:04:56.28,0:04:59.30,Default,,0000,0000,0000,,-"But is there a tournament of some\Ndescription with rowdy goings-on?"
Dialogue: 0,0:04:59.81,0:05:01.33,Default,,0000,0000,0000,,It just feels "off."
Dialogue: 0,0:05:02.43,0:05:04.10,Default,,0000,0000,0000,,Now watch this moment,\Ndirected by them.
Dialogue: 0,0:05:06.10,0:05:07.20,Default,,0000,0000,0000,,-"Cigarette?"
Dialogue: 0,0:05:10.61,0:05:11.52,Default,,0000,0000,0000,,-"Right."
Dialogue: 0,0:05:12.00,0:05:14.72,Default,,0000,0000,0000,,And this rhythm is what underlies\Nso many of their scenes...
Dialogue: 0,0:05:15.20,0:05:18.38,Default,,0000,0000,0000,,and it’s how they find nonverbal moments\Nthat other directors don’t look for.
Dialogue: 0,0:05:24.38,0:05:26.58,Default,,0000,0000,0000,,But what do all these choices add up to?
Dialogue: 0,0:05:26.84,0:05:28.40,Default,,0000,0000,0000,,I think it creates a particular tone.
Dialogue: 0,0:05:28.65,0:05:31.30,Default,,0000,0000,0000,,Because on one level, the Coens\Nwant you to laugh at these people.
Dialogue: 0,0:05:36.20,0:05:38.35,Default,,0000,0000,0000,,After all, they use the wide lens\Nto exaggerate the face
Dialogue: 0,0:05:38.60,0:05:41.20,Default,,0000,0000,0000,,and they time the scene for humor.
Dialogue: 0,0:05:47.54,0:05:50.77,Default,,0000,0000,0000,,But on another level, the Coens want you\Nto empathize with these characters.
Dialogue: 0,0:05:51.27,0:05:53.52,Default,,0000,0000,0000,,They frame wide enough\Nso you can see the environment
Dialogue: 0,0:05:54.00,0:05:56.40,Default,,0000,0000,0000,,...and they put the lens right\Nnext to people at their lowest point.
Dialogue: 0,0:05:58.00,0:05:59.10,Default,,0000,0000,0000,,-"I am dying."
Dialogue: 0,0:06:01.20,0:06:03.24,Default,,0000,0000,0000,,-"Do something. Help me!"
Dialogue: 0,0:06:04.20,0:06:06.80,Default,,0000,0000,0000,,There's an old saying:\NTragedy is a close-up.
Dialogue: 0,0:06:07.34,0:06:09.90,Default,,0000,0000,0000,,Comedy is a long shot.
Dialogue: 0,0:06:11.24,0:06:14.19,Default,,0000,0000,0000,,But for the Coens\Nthose distinctions are jumbled.
Dialogue: 0,0:06:14.39,0:06:17.27,Default,,0000,0000,0000,,They play both tragedy and comedy \Nin intimate singles.
Dialogue: 0,0:06:18.30,0:06:19.90,Default,,0000,0000,0000,,-"I miss Mike."
Dialogue: 0,0:06:20.60,0:06:22.44,Default,,0000,0000,0000,,And that's the fascinating thing.
Dialogue: 0,0:06:22.77,0:06:25.41,Default,,0000,0000,0000,,Because dialogue scenes aren't\Njust about recording the dialogue.
Dialogue: 0,0:06:25.91,0:06:28.40,Default,,0000,0000,0000,,They're also about\Nthe nonverbal behavior.
Dialogue: 0,0:06:28.80,0:06:30.79,Default,,0000,0000,0000,,-"I don’t guess\Nthis means much to you."
Dialogue: 0,0:06:31.00,0:06:32.69,Default,,0000,0000,0000,,-"Hell yeah,\NI could tell you some stories…"
Dialogue: 0,0:06:32.70,0:06:36.49,Default,,0000,0000,0000,,-"And that’s the point!\NThat we all have stories..."
Dialogue: 0,0:06:36.69,0:06:38.49,Default,,0000,0000,0000,,And by placing the camera here,
Dialogue: 0,0:06:38.59,0:06:41.21,Default,,0000,0000,0000,,using a wide lens,\Nand following their particular rhythm
Dialogue: 0,0:06:41.69,0:06:44.39,Default,,0000,0000,0000,,the Coens have found an interesting\Napproach to the most basic tool.
Dialogue: 0,0:06:45.29,0:06:46.44,Default,,0000,0000,0000,,Shot
Dialogue: 0,0:06:47.65,0:06:49.35,Default,,0000,0000,0000,,Reverse shot