(no subject)
So there's this opening shot--Orson Welles; Touch of Evil, 1958--and the studio used to roll the credits over it, which was shitty and not the way Welles wanted it at all, 'cause who can really focus on what's going on if you're reading some little captions about the actors or the producer at the bottom at the same time?
But they finally took the credits out of the shot, and it's one of the great ones. You start with the bomb being put in the trunk of a car, and you follow the car a few streets, and you wait because you know there's got to be a payoff, there's got to be the explosion. But then the camera ditches the car off to the side, and you're following Charlton Heston and his girl instead, casual and lighthearted and lah-di-dah but you're still waiting for that payoff and the tension builds all the way through the shot. Man, Welles was one of the greats.
[ooc; Affected? Maybe, maybe not. He's a bit of a geek about this kind of thing anyway. XD]
But they finally took the credits out of the shot, and it's one of the great ones. You start with the bomb being put in the trunk of a car, and you follow the car a few streets, and you wait because you know there's got to be a payoff, there's got to be the explosion. But then the camera ditches the car off to the side, and you're following Charlton Heston and his girl instead, casual and lighthearted and lah-di-dah but you're still waiting for that payoff and the tension builds all the way through the shot. Man, Welles was one of the greats.
Click to view[ooc; Affected? Maybe, maybe not. He's a bit of a geek about this kind of thing anyway. XD]