SCENE
This scene from the David Fincher film ‘Zodiac’ occurs towards the end of the film when Robert seems to be getting extremely close to discovering who the Zodiac is. I think it is going to be hard to critically analyse David Fincher’s shot order, framing and construction knowing that he is such a perfectionist however i will try my best. Fincher is probably my main inspiration when constructing a scene from start to finish which is the reason why i picked one of his films to look into and find more of what he might be thinking.
The scene begins with a conversation between Robert and a gentleman from the cinema. The establishing shot is a medium long shot consisting of both actors quite centred in relation to the whole shot. The first 30 seconds is quite well paced, i would say medium time between cuts. I really like how Fincher cut the shots in relation to the information the characters know. Firstly from medium close ups of both of them until Robert discovers something quite chilling where the shot changes to a slightly different angle of him.
The following three cuts occur quite fast and direct the viewers attention towards a different part of the house. There are four shots in total, three of Robert and one of the other Gentleman. I like how Fincher uses the information in the script and story to help direct his shots.
I also noticed that he uses a J-cut in the conversation between the two only once, the rest of the time the cuts in between pauses. There is also a cut without mouth movement of the gentleman which i guess is a good way to show facial expression to add to the character /story.
The next sequence I don’t like as much, the angles aren’t as “open” as the scene upstairs which very well could have been due to the space limitation in the basement that they filmed in. I feel there is lots of dead space around the two in the reverse medium close-up shots. I know the darkness surrounding the two adds to the mysteriousness of what is actually happening although I think that they could have filled a bit more with some props etc.
The final series of shots are all pans that with the accompaniment of Robert quick movement create suspense. All the shots throughout the scene are rigged onto a tripod or dolly which coincides with Fincher’s love for smooth camera movements. This works extremely well for this last sequence where Robert wants to get out of the house as quickly as possible.