This week we continued the group’s discussion on decoupage by watching two clips both single take shots taking place at parties one from “My Sex Life or How I Got Into an Argument” (1996) which featured a camera following the characters around the party and “Full Moon in Paris” (1984) which was as stationary camera focusing on people dancing at a party and discussed what decoupage means in a single shot. To me decoupage will always come down to a directors intentions I don’t believe in a director covering a shot a certain way because they can it should always come down to what the director is trying to convey with a shot as discussed in the readings shots I agree would have different meanings if the shot was fragmented and shot in pieces.

We also continued our discussion about eyelines and the thought and planning that has to go into them whether it is easy for the actors as they are in the same room acting out the scene together or if they have to shoot the scenes at different times so care needs to be considered when the actors need to know where to look so that it doesn’t look bad when the footage hits the editing room. We watched a clip from “The Wild Bunch” (1969) which showed us an example of eyelines that go beyond two people having a conversation next to each other which included mapping out eyelines from characters in wagons, on horses and high above in the mountains which I thought was an interesting perspective to look at this week instead of more simple eyeline clips.

Reading Response

“Matching for Continuity: Why it’s Critical”

 Like the reading last week I found these pages enjoyable although I know a bit more about the topic going in this time around as I try to be someone who tries to keep track of continuity in my films in terms of the topics discussed here such as lighting and costuming. This has worked out well in my favour most likely due to how small I like to keep my cast so it’s easier to keep track of the people’s continuity but also I’ve noticed some characters I only need for a day or two if they’re not the main actor/s which helps since there’s less scenes to worry about. My main issue is probably keeping the consistency of my actor’s performances as communicating with them is probably my biggest flaw as a director I need to improve on.