Скачать с ютуб The Interrogation Scene — How Tarantino, Fincher and Nolan Direct Power Dynamics в хорошем качестве

The Interrogation Scene — How Tarantino, Fincher and Nolan Direct Power Dynamics

How to direct an interrogation scene — an analysis of how Quentin Tarantino, David Fincher, and Christopher Nolan direct interrogation scenes with different power dynamics. The Dark Knight Interrogation Scene Explained ►► https://bit.ly/dk-is StudioBinder Blog ►► http://bit.ly/sb-bl ───────────────────── Chapters: 00:00 - Intro 00:41 - What is an Interrogation Scene? 01:14 - Inglourious Basterds (Transferring Power) 05:30 - Zodiac (Balancing Power) 09:28 - The Dark Knight (Subverting Power) 13:45 - Wrap Up ───────────────────── The interrogation scene is all about power — who has it and who doesn’t. Much of these power dynamics are communicated via dialogue but truly reinforced by the camera. Using various techniques including camera angle, framing, and movement filmmakers like Quentin Tarantino, David Fincher, and Christopher Nolan can craft scenes that rely just as much on film language as they do on spoken language. In this video, we’re going to analyze three scenes from these directors to illustrate how to direct an interrogation scene in three very different ways. At their foundation, all interrogation scenes boil down to two sides, one seemingly with power and the other without, and a series of questions and answers. Beyond that, filming an interrogation scene can be done to match the power dynamics or subvert them completely. In the Inglourious Basterds interrogation scene, Quentin Tarantino directs the scene to visually reinforce the transfer of power from one side to the other. After a deadly shootout, the remaining Basterds interrogate the only survivor, Bridget von Hammersmark. Lt. Aldo Raine looms over Bridget as he questions her. Tarantino uses high and low camera angles, oppressive blocking, and shot size to clearly represent this uneven dynamic. However, once Bridget reveals that she can still help the Basterds complete their mission, power is transferred to her — and the shot choices reflect that. In the Zodiac interrogation scene, director David Fincher constructs a very neutral scene, leaving the ambiguity of the power dynamics more intuitive than observable. As the detectives interview Arthur Leigh Allen, a suspect of interest, Fincher constructs the blocking (all men sitting) and the staging (eye-level shots) to give neither side a visual advantage. These neutral visual patterns are only interrupted for moments that raise the detectives’ suspicions. Then we get a low angle showing Allen’s boot, his watch, and switching from more objective over the shoulder shots to more subject, straight-on close-ups. And yet, no matter how alarming these clues are, the detectives have no choice but to let Allen go, keeping the final balance of power equal. In The Dark Knight interrogation scene, director Christopher Nolan subverts our expectations by using film language to present Batman in power while the actual power lies completely with the Joker. Typically, the power dynamic of an interrogation scene favors the interrogator — but that is not the case in the Joker interrogation scene. Batman attempts to dominate the Joker physically and Nolan presents these moments with camera angles that should echo this relationship. If you watched The Dark Knight interrogation scene on mute, for example, it would be obvious that Batman is in absolute control. By subverting the power dynamics, Nolan gives us a unique and captivating interrogation scene second to none. If you’re unsure how to direct an interrogation scene, let these three examples from Tarantino, Fincher, and Nolan remind you that there are a plethora of options to show who has power and who doesn’t. #FilmTheory #VideoEssay #Filmmaking ───────────────────── VIDEO EDITOR: BRANDON SCULLION ───────────────────── ♬ SONGS USED: “The Power” - Snap! “Stuck in the Middle With You” (Karaoke Version) - Stealers Wheel “Slaughter” - Billy Preston “Ich Wollt Ich Wär Ein Huhn” - Lilian Harvey, Willy Fritsch “The Green Leaves of Summer” - Nick Perito “The Fight (Dark of the Sun)” - Jacques Loussier “Main Theme From Dark of the Sun” - Jacques Loussier “Claires First Appearance (Dark of the Sun)” - Jacques Loussier “Hurdy Gurdy Man” - Donovan “Logo” - Hans Zimmer “Bank Robbery” - Hans Zimmer "Move the Money" - Hans Zimmer “Put a Smile On That Face” - Hans Zimmer “Green Onions” - Booker T and the MG’s Music by Artlist ► https://utm.io/umJx Music by Artgrid ► https://utm.io/umJy Music by Soundstripe ► http://bit.ly/2IXwomF Music by MusicBed ► http://bit.ly/2Fnz9Zq ───────────────────── SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0 Looking for production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing — Join us on Social Media! — Instagram ►►   / studiobinder   Facebook ►►   / studiobinderapp   Twitter ►►   / studiobinder