Episode Prompt and Discussion 6x14
Thanks for all the interesting comments regarding motifs, visuals, and thematic/narrative connections in the last couple of episode discussions--they've all been really insightful and smart. Of course, we also love squeeful jabber, random flailing over pretty pictures, as well as questions and feedback on possible visual meta anyone may be working
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One of the things I found interesting was how the dummies were framed and included in the periphery of the shots (in particular the anatomy dummy). It reminded me of classic horror films where there's a lot of visual emphasis given to the "bad guy" or the "creepy object" while the protagonists or soon-to-die people remain pretty much clueless. The effect is a whole lot of creeper!dummy, which is ... creepy.
This shot gives the appearance that the Creeper!dummy is watching the janitor, which is a classic visually clue in horror that he's going to be the soon-to-be dead janitor.
We zoom in over Dean's shoulder and get a close-up of the dummy while the boys talk, making it uber obvious to the audience that it's the dummy even though the boys have yet to figure it out. It also visually suggests that the dummy is somehow listening in on the conversation ... creepy. :)
The following two caps show how the dummies are included in the shots that really have nothing to do with them from a story perspective (both scenes could've used tighter two-shots of the boys), but they're included to remind the audience that the "evil object" lies in plain sight to the clueless characters (ha, Dean's expression in the second cap!) and/or to create a sense of foreboding. Creeper!dummies!
This last cap is nice. Normally, close-ups like this features the person (or dummy in this case) on the opposite side of the screen they're facing so their gaze is directed across the larger wide/empty space between them and the frame (if this were done traditionally the dummy would be shifted to the left-hand side of the frame but still be gazing to the right). This is mostly because it's visually more comforting for the audience to track the eye line of the person through the frame. But when the person is pushed to one side of the screen and the space their gaze travels through is truncated and we're left to stare at undefined/meaningless blank space on the back side of the subject's head, it feels unsettling. We want to know what is the subject looking at, if something is going to creep up behind the person and jump them. In all it equals a weird, uneasy feeling.
Cool stuff. Thoughts? Does this director get a thumbs up, thumbs down, or a meh face?
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I'm gonna give a thumbs up. :) I liked the shot of the boys where the camera panned and tilted from the cloudy sky to Sam and then to Dean, and also the crane shot of Bobby's salvage yard was pretty awesome (I don't think that we've gotten that wide a view of it yet). All in all, it felt like an episode of Show which is the most important thing.
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*thumbs up*
the crane shot of Bobby's salvage yard was pretty awesome
I liked that, too. Although I couldn't help but notice where the actual salvage yard cars (it's a real salvage yard somewhere in the lower mainland) stop (they're mostly grey and newer looking) and where the cars Show brought in start (they're colorful and older models and they're parked on the pavement where they were presumably just rolled in).
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Can we talk about the anatomy model? The very choice of that type of dummy recalls the recent descriptions of Sam flayed in the cage. And the way it was displayed suspended on chains and a hook had me flashing on Dean in hell. (The few actual skeleton models I've seen were supported by a less heavy-duty system.)
In fact, there was an abundance of hanging and draping cords and wires and police tape, etc, in both the lab and the factory. That might not have stood out to me except for noticing all the web-like business in the previous episode. I don't know that webs is the most logical direction to go with this though. The color and variety leads me into looking for other connections.
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I almost wrote a comment about the gorgeous lighting in the opening scene and how the last cap in my original comment (the CU of the anatomy dummy) is so lovely, but I didn't (obviously :P), so I'm glad you noticed the lighting and mentioned it.
Out of curiosity, when you mention consistency are you referring to the differences in the night scenes or the differences between the night and the day scenes?
The very choice of that type of dummy recalls the recent descriptions of Sam flayed in the cage.
Oh! Truetruetrue. That never occurred to me.
I don't know that webs is the most logical direction to go with this though.
The first thing that pops into my head when thinking about the boys in webs or surrounded by cords/nets/etc. are them being puppets, being used or manipulated for other peoples' (angels'/demons'/God's (?)/Death's/MotW's) means. Of course, that was a big theme in S5 and a counter to the free will theme, so perhaps it's just beating a dead horse now. But Crowley wasn't above using his leverage to puppeteer the Winchesters into being Alpha bounty hunters, and you have to wonder what ulterior motive Death had in pointing them toward souls and purgatory.
The color and variety leads me into looking for other connections.
Lots of warm colors this episode (red and yellow).
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I agree that the close up you posted includes lovely lighting on the model. And now I see more going on in the lighting in the cap of the janitor than I picked up on while the scene was playing out. I guess I would have predicted deeper darker shadows to allow the model to seem more lurking or threatening? The way it was done though adds to the 'in plain sight' aspect you noted with the framing.
The first thing that pops into my head when thinking about the boys in webs or surrounded by cords/nets/etc. are them being puppets, being used or manipulated for other peoples' (angels'/demons'/God's (?)/Death's/MotW's) means. Of course, that was a big theme in S5 and a counter to the free will theme, so perhaps it's just beating a dead horse now. But Crowley wasn't above using his leverage to puppeteer the Winchesters into being Alpha bounty hunters, and you have to wonder what ulterior motive Death had in pointing them toward souls and purgatory.
Of course! This ep's hanging cords were like marionette strings! Pinocchio becomes a real boy and all that jazz! (Okay, I'm unspoiled and suspect I'm more delighted by that reminder than I should be.)
Alternatively, maybe the puppets are the players around the Winchesters? Is it convenience that the boys AGAIN are dealing with a mess that was created out of proportion to any intent?
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now I see more going on in the lighting in the cap of the janitor
*nods*
The above cap shows a lot of the film noir elements SPN seems to be using lately (low angle shots, high contrast with lots of striped shadows, low key lighting).
I guess I would have predicted deeper darker shadows to allow the model to seem more lurking or threatening?
In the days scenes, you would think (although it would be hard to light that naturally unless the boys had a scene with the dummy in a room with no natural light like a closet). :) The anatomy dummy was severely side lit = deep shadows when it was revealed to be the killer, so, in a way, your prediction was spot on!
Pinocchio becomes a real boy and all that jazz!
Heh, wasn't that eluded to in "Clap Your Hands"? Dean making a throw away comment about Robo!Sam = Pinocchio? Or maybe it was a meta-ish thought regarding the parallels between Robo!Sam wanting to be a real person....
maybe the puppets are the players around the Winchesters?
I guess this season you never know who's pulling whose strings. We haven't even been given any plausible reasons WHY the Alphas and so eager to reproduce or if something/someone has compelled them to do so (unless I missed something important somewhere). I supposed it's possible that Mother of All may have been giving orders from Purgatory, sending the Alphas into action, but that seems quite convenient and a redux of what's already been done (Lucifer gave Azazel orders from the cage).
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Oh, I agree, and that's pretty much what I meant. Also, the daytime scenes with the boys made more of an impression because they came later and because, well, boys! ;-)
Lighting isn't an area I easily notice (much less analyze), so I'm grateful for having even the most obvious choices pointed out. You brought a couple more really nice examples I completely missed on my own.
because a lot of scenes took place during the day when there wasn't the opportunity to use more atmospheric lighting
I think in the commentary for the Pilot there's a brief mention that the lighting for the daytime scene of the boys at the library computer terminal was achieved mainly by turning off the overhead lights. I imagine it makes a difference that the focus was on a tight area?
(Wow, those young faces could break your heart.)
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My pleasure. I learn tons from these discussions, too. :)
the lighting for the daytime scene of the boys at the library computer terminal was achieved mainly by turning off the overhead lights. I imagine it makes a difference that the focus was on a tight area?
Aww, yes, those baby faces! *squish* Do I ever miss how new and shiny SPN felt back in those early seasons. Your caps remind me how very X-Files-like SPN was visually. That first season gave us some gorgeous scenes (even seemingly mundane ones like researching at the library) like the entire lighting set up at the mirror store in "Bloody Mary".
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Oooo, now that you mention it, YES. And when I finally got to make my own caps of this ep today, I noticed this:
The flayed dummy hanging from a meat hook and the plexiglas cabinet thingy that has a cage-like appearance (and the words 'The cell' on the whiteboard behind the boys a moment later)... It's like both boys have their hell right there in front of them (but especially Sam). The show decided to abandon the subtle approach and start beat it into us with sledge hammers? ;)
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It's like both boys have their hell right there in front of them (but especially Sam). The show decided to abandon the subtle approach and start beat it into us with sledge hammers? ;)
It amazes me how happy I am being bludgeoned along with the boys. Because, the thing is, my interpretations swing from one possibility... to another... and another...
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