Camerawork, Blocking, and Nonverbal Cues: How a Scene From "TM7" Establishes The Dynamic For S3

[bowtrunckle]

A runaway meta that ... uh ... ran away from me.

Here’s my contribution for  the 3x01 the episode prompt at
spnematography. I’m not a cinematographer and it has been a long time since my university film class, so if there are misinterpretations or errors please let me know. For me these metas are for fun and an excuse to watch a show more than once. :)

I originally picked one screencap, but I found myself dissecting the entire final scene between Sam and Dean. *throws hands in the air* I’ve pretty much given up on trying to stop the meta monster so forgive me, but I’m just going with the flow here and expand on the prompt by using the screencap idea as a jumping off point for this meta.  The aborted, original idea for this meta will be a separate non-episode prompt meta.  But here, I’m going to discuss how the camera work and blocking in this scene augment the dialogue and highlight the shifting power dynamic and growing tension between Sam and Dean.

Here’s the scene. Take a peek at it before reading on.

Click to view

Camerawork

Let’s examine how the camera angles help to tell the story, build the scene, and compliment the dialogue and Sam and Dean’s changing power dynamic.

The scene opens with a following/ tracking shot of Bobby driving away to Sam and Dean standing at the edge of the gravel drive.

This camera shot bridges the previous scene with Tamara and the upcoming scene. It establishes the space and shows where the characters are in respect to other important scenic elements (the house, the road, the exit/highway). The camera tracks in synchrony with Bobby driving away (both move from the left side of the screen to the right), eventually falling on Sam and Dean. This camera movement mimics the same path you’d follow with your eyes if you were present, giving the shot a very fluid, seamless feel and makes it unnoticeable to the viewer. The result: visually affinity, low tension.

The camera dollys in and then out as the boys walk toward the camera [the off screen Impala]. A medium two-shot of Sam and Dean.

When the characters are lit equally and their dialogue and/or actions don’t denote dominance of one over the other (as done here), two shots are an effective way showing a neutral relationship where there’s no power play (at least not yet in this case). The zeroing in on Sam and Dean is a visual clue that says, “Hey, pay attention to these two guys, something’s about to happen.” Not that we weren’t looking at them anyway. ;) The result: a neutral power, low tension shot that narrows the attention to the two principle players.



All screencaps from
leggyslove.

Cut to a close-up, over-the-shoulder shot of Sam.

This begins the first series of over-the-shoulder, dialogue-heavy shots that alternate between Sam and Dean. Notice how the camera focuses on each of them as they speak instead of featuring the other person (which happens later in the scene). This is a straight forward way of shooting a conversation where what’s being said and the delivery of the lines are important. The cuts help build-up the argument by volleying the viewer back and forth between Sam and Dean as they make their points and counterpoints. Furthermore, the close-up shots allow the audience to see facial expressions, lending a sense of intimacy that’s impossible to get with medium to long shots as used in sitcoms. The result: an audience/character connection and relatively low tension that seems to be building as the power play develops.





Caps 2 &3.

With Dean’s words “We’re not going and that’s that” the camera cuts to a medium shot of Sam and Dean facing each other. It ends with Sam saying, “I’ve had it.”

The camera pulls away to show the actors’ physical cues which further discern the changing dynamic in the scene. Through Sam’s pleading hand gestures, Dean lightly hitting Sam with the back of his hand, and Sam grabbing Dean’s arm, we see Sam’s attitude change from hopeful insistence to irritated frustration and Dean’s move from jokingly flippant to dismissive. Watch the scene without sound and you’d still be able to discern the overall dynamic: which character is being evasive, which character wants something the other won’t give, which character grows frustrated, etc. The result: increased tension and an overt power struggle.







Caps 4, 5, & 6.  If I were to sum up Sam and Dean S3 in three screencaps I would use these.

A close-up, over the shoulder shot of Dean.

This second series of over-the-shoulder dialogue sequences can be broken into two parts: one where Dean is on the defensive and one where Sam is. The subject of the shots also changes as the power shifts between them.

During the first half of this sequence where Sam dominates the scene as he lays into Dean, the camera lingers on Dean’s face despite the fact it’s Sam who is speaking. This may seem counterintuitive when the dialogue suggest that it’s Sam who is the outstanding character in this scene, but the camera shows that what’s important is Dean’s reaction, not Sam’s delivery. And for good reason because this is when we see Dean become more serious and frank. I think this emotional shift shows that Dean isn’t treating this situation as a complete frivolity despite his whole-hearted intentions of brushing Sam off. Perhaps he’s masking his true feelings, which is important for audience empathy because, you know, Dean isn’t a total jerk.



Cap 7.

Dean’s saying, “We trap the crossroads demon…” signals the power shift into Dean’s court with him no longer dismissing or evading Sam’s questions, but essentially throwing the answers back into his face. What carry the weight in this segment are Sam’s reactions, not Dean’s delivery. Appropriately, we’re treated to lingering shots of Sam’s face during Dean’s dialogue. Particularly important is Sam’s reaction to Dean telling him that Sam will die if they try to get out of the deal. Besides just being the right choice for the scene, the close-up shot of Sam heightens the dramatic tension and helps pull the viewer further into the fictional world. Think about how cheated you would feel if the camera pulled out to a medium or long shot or if it was focused entirely on Dean’s face instead of Sam’s during this portion of the scene. When executed successfully, the camera work is virtually invisible, gives a clear sense of what’s happening (unless ambiguity is the point), and leaves the viewer satisfied. Let’s all take a moment to sing the praises of Kim Manners’ directorial talents. *pause*



Cap 8.

Finally, the sequence shifts back to focusing on the speakers' face as they deliver their lines. Again the use of close-up shots is important in establishing a rapport and intimacy with the audience.  The result: a character/audience connection and increased tension through character conflict via (mostly) dialogue.

Cut to a medium shot of Dean walking away from Sam and Sam cutting in front of Dean, crossing between him and the camera, saying, “You’re a hypocrite, Dean.”

This is a good way to add visual interest by moving the characters. This also transitions nicely to the next series of over-the-shoulder, dialogue shots. I think the blocking here is a great example of nonverbal cues screaming louder than dialogue ever could, but I’ll discuss that in the next part of this meta. The result: a transition into the next segment of the scene and increased tension relayed through physical cues.

A sequence of close-up, over-the-shoulder, dialogue shots.

The camera shots toggle between Sam and Dean, directing the dramatic interest to the “important” character/reaction during key points in the conversation. Note the quick cut to Sam’s face after Dean says, “After everything I’ve done for this family, I think I’m entitled.” The result: increased conflict through mostly dialogue; the camera work is unobtrusive and follows through with the techniques that were previously established.

Rack focus to Sam as the camera tracks behind him to catch a close up of his face as he turns and says, “You’re unbelievable.”

This is a great shot. The camera’s focus is first transferred from Dean to Sam when Dean makes his stance clear; he lays out his hand and effectively walks away from Sam (rack focus from Dean to Sam). Then the camera zeros in on Sam, giving us the closest close-up in the entire scene. This boarders on an extreme close up or a choker close-up (with Sam’s propensity for getting strangled that seems an appropriate name), which is used to isolate significant subject matter and crowd out all extraneous material from view, focusing all the attention on one character. It’s all about Sam at this point, and it’s his reaction we’re interested in. How does he take this? What will he do? One could argue that the entire scene builds up to this point, so its significance is nicely reflected with the close-up of Sam. The result: all attention is directed at Sam.



Cap 9.

Cut to medium shot of Sam facing Dean who says, “Very true,” before getting into the car. CUE DEPARTURE ROCK MUSIC. The camera follows Sam as he walks to the other side of the car and gets in. Dolly out and transition to a tracking crane shot as the Impala turns down the drive and onto the highway. CUT TO BLACK; CUE CREDITS.

Like transitioning through the five degrees of psychic distance in fiction writing, in this case, increasing the distance from the characters using a crane shot signals to the viewer that the show is over. As an audience we’re being hastened away as our heroes drive off on the highway. The result: an increasing distance from the events in the story; the end is here.



Cap 10.

Blocking and Nonverbal Cues

Let’s pick apart the blocking and other physical cues to see how the visual story is told without dialogue to see how they compare with the camera work.

The scene opens with Sam and Dean standing side-by-side, each with a hand in a pocket, waving goodbye to Bobby. They walk toward what we later learn is the Impala. Their strides match as they walk in synchrony.

Like the two shot camera angle, the verbal language is neutral. If anything, a sense of solidarity is relayed as both Sam and Dean’s actions match. The result: visual affinity, low tension, maybe even harmonious. This is in line with what I think the camera work suggests.



Cap 11.

Dean stops as Sam says, “…she mentioned this Hoodoo priest outside of Shreveport that might be able to help us out.” Both of them are lined up evenly with the front of the Impala so it sits on Sam’s left and on Dean’s right.

During this exchange Dean shakes his head and does the thing I call “the prolonged eye blink of exasperation” (I see moms doing this to their kids in the cookie aisle at the store as they’re brought box upon box of Nabisco products). Sam’s growing frustration is conveyed through his eye rolling, sighing, jaw clenching, lip licking, and pleading hand gestures.



Cap 12.

Dean’s behavior strikes me as rather parental and slightly dismissive while Sam’s seems more akin to pleading child. It’s as if Sam is once again the annoying little brother full of ridiculous ideas. Dean acts as if Sam has been harping on him all week to consider fixing “this demon thing” and the way he’s going to deal with it is by not giving in and simply outlasting Sam, deflecting his arguments by any means in an attempt at self preservation. This is where we see Dean’s tried and true coping mechanism for all things familial and traumatic shine yet again. He shuts down and retreats behind a façade. In this case, it’s one of flippant indifference and sometimes inappropriate and slightly cruel humor. The result: increased tension and the sense that an argument is inevitable. This is similar to the overall effect of the over-the-shoulder, close-up shots.

Dean says,“How about Reno, huh?” He starts walking to his right, but Sam grabs his arm. Dean stops. They both shift so Dean is closer to the Impala.

This dialogue sequence starts with Dean on the defensive. As Sam vents, Dean shakes his head, does a half-grin thing, and refuses to make eye contact with Sam.





Cap 13 & 14.

This scene transitions to Dean on the offensive with Sam quiet during which Dean spells out the terms of his deal in a very matter-of-fact manner. We see Sam’s expression change from realization to disbelief to dismay to anger. As Dean grows serious, his myriad of facial expressions stop and he holds Sam’s gaze. When Dean says, “You try to find a way, so help me God, I’m gonna stop you,” he does so unblinkingly. This contrasts with the fun-all-the-time!Dean we’ve seen prior to this and highlights just how serious he is as he speaks a solid truth. But as soon as Sam collects himself and gears up for another challenge by saying, “So now I live and you die,” Dean steps back and refuses to engage. He erects his façade again with the facial expressions and by saying flippantly, “Yeah, pretty much,” then makes another move to walk away. The result: as also seen by the camera work for this sequence, more tension as Sam and Dean play seek and evade.

Sam crosses in front of Dean, blocking him. Sam stands between Dean and the Impala.

One thing I found interesting is where Dean keeps trying to run to throughout this scene. Watch it again and look where he’s headed every single time Sam intercepts him. See it?

It’s the Impala. *glee*

Time and time again we see Dean reverting to the car when he can’t deal directly with life.  The Impala is Dean’s escape, his security, his home, the thing that was there when his family wasn’t. It’s something that can’t die, can’t leave him because he can rebuild it with his own hands. It’s the one thing Dean has 100% control over; and because of this, the Impala is completely safe for Dean. So it’s not surprising that it’s the first place he instinctually retreats to when he’s feeling threatened, vulnerable, or out of sorts.

However, in this scene Sam continually prevents Dean from disengaging by physically restraining him or positioning himself between Dean and his “safe place”. Sam literally and figuratively stands in the way of Dean’s surface goal: to keep Sam safe by upholding his end of the deal, and in order to do that, he can’t renege on the deal or encourage Sam to do so because saying yes to his life is essentially saying no to Sam’s. This brings up an interesting dilemma: What does one do when the person they’re trying to protect refuses to be protected? But that’s for another meta or for someone else to tackle…

The blocking parallels Sam’s dialogue beautifully and conveys his determination to save Dean at any cost, even if that means getting into Dean’s face and pushing. Recall the last time Sam continually pressured Dean he got punched in the face (“Bloodlust” 2x03). Surely Sam hasn’t forgotten about how volatile Dean can get. A part of me thinks that Sam’s desperation might grow to a point where he might even be willing to sacrifice his relationship with Dean if it means ultimately saving Dean’s life. But perhaps that’s another meta…

Throughout this next portion of dialogue Sam is all hard stares and Dean is all raised eyebrows, prolonged eye blinks of exasperation, and grins. Dean again lapses into periods where he’s serious and speaks words of “truth” but he once again closes them with dismissive almost haughty remarks that act as road blocks, essentially shutting down the conversation. The result: the conflict climaxes but isn’t resolved. Tension crests and then subsides, but doesn’t disappear. This roughly achieves the same effect as the camera shots, except the camera tends to emphasize Sam during key shots while the blocking doesn’t seem to favor either of the boys.





Cap 15 & 16.  Dean's expression here just kills me; what a goof ball. :)

Dean ducks around Sam, who is shaking his head, and says, “You’re unbelievable.” Dean smirks, “Very true,” before getting into the car. CUE DEPARTURE ROCK MUSIC. Sam pauses, then walks around the car to the passenger side, hands stuffed in his pockets, and gets in. CUT TO BLACK; CUE CREDITS.

The scene’s resolution is yet another version of Dean deflecting Sam. But this time Sam acquiesces and silently takes his co-pilot position in the Impala. His body language (stooped shoulders, hands in pocket, and his slow gait) suggests weariness or barely contained frustration as if he doesn’t know what else to do. Sam has either recognized when to stop pushing Dean or else he’s recollecting himself, strategizing for another round at some later time or perhaps both. But one this is for sure, Sam is unwilling to blow the argument up by refusing to get into the car, a far cry from Sam in S1. And just like Dean’s proved his devotion to his brother by trading his life, no matter how much of a jerk Dean pretends to be or how many times Dean shuts him out, Sam will always come back to Dean’s side; after all, brotherly love is the blood life of the show. But by the way neither of them looks at each other, it’s clear that the tension remains. There’s short term closure that allows the scene to conclude, but the viewer understands that matter hasn’t been resolved. The result: a satisfactory ending, but a clear sense that the argument is not over. Tensions persist.



Cap 17.

The End

Nonverbal cues, blocking, and camera angles are powerful tools used to form the visual elements of a story. When these techniques are used in concert, they help build a scene by conveying a multitude of subconscious cues to the viewer. Like those Russian nested dolls, they tell the story inside of the story inside of a story. In “TM7” they were used to solidify Sam and Dean’s mindsets in the final scene, which set the tone for the underlying Dean and Sam dynamic that will likely pervade a good portion of S3: Dean hiding behind his facade, evading Sam's questions, and running interference and Sam pushing Dean and pressing forward despite what Dean does or says.  And as we saw, it’s gearing up to be a season full of tension, conflict, angst, some bad jokes (aww, Dean), and lots of brotherly devotion. Whoot! Go Show.