don’t know why, but i’ve been thinking about wes anderson’s framing techniques lately. specifically, my perception that nothing in ‘grand budapest hotel’ exists outside of the frame. i think a good example of this is the quasi-chase scene between jeff goldblum’s character and william dafoe’s character. dafoe’s character is only a threat when he is onscreen. goldblum moves and just as we think he’s safe (as he reaches the end of a room), dafoe’s reappearance tells us he is not.
contrast that with the scene in drive right after the pawn shop robbery. oscar isaac’s character is walking away from the building and is the only one in the shot. then we hear shots and see the character fall to the ground. the shooter has yet to exist on camera (and i don’t think ever appears on camera) and the tension is created through our realization that something exists outside of the frame as a threat.
horror movies live off this: there’s always a threat offscreen and generally the entirety of the tension is created specifically through shot and frame selection.
about the hurt in your heart
make a song like this
for a jazz band to play:
make a song like that
from your lips
hurt, langston hughes
i wonder a lot about if i read too much into the music i listen to, whether i give artists too much credit.