All imagines are my own, found on my iphone camera roll

Zodiac (Dir. David Fincher, 2007).

The scene of Melanie delivering divorce papers to Greysmith, is a pivotal and incredibly important scene in Zodiac (Dir. David Fincher, 2007). By exploring a single shot of this scene, (2:22:16 – 2:22:26) Narrative meaning emanating through the use of production elements: sound, acting and mies en scene, conveys Melanie’s discomfort in her own (former) home and signifies the end of her relationship with Greysmith.

The use of exclusively ambient sound in this shot manages audience expectations. The ambient sound of the rain falling softly on the roof creates a hypnotising and calming effect for the audience, creating an atmosphere that does not foreshadow a fierce fight to reconcile a broken marriage, but rather one of acceptance. The acceptance of the loss of a husband and consequently the ‘nuclear family’ construct for Melanie and her children.
As Melanie stands in the living room, she is still wearing her wet overcoat and handbag. With her hands holding the white envelope motionless in front of her, Melanie emits no outward intention of removing them. Once, the sequence of actions of removing her coat and handbag and putting her keys down on the bench would have been habitual (As seen in early scenes). Melanie does not do that now, consequently making her intention of not staying long clear. This is Greysmith’s space now. She is a visitor.
The prop of the white envelope Melanie holds furthers this sentiment, representing Greysmith’s copy of divorce papers; it acts as a barrier, physically taking up the space between her body and his. In a way, Melanie’s actions and overcoat act as a shield. Much like they would against the elements of the now muffled rain, they now act as a barrier against the man she loved, and in many ways, still loves. This sentiment is conveyed as Melanie asks Greysmith: “when’s the last time you ate something?” An audible juxtaposition to all else translated visually in this shot. Demonstrating an ability to care and love someone, and yet not be able to be with them.

The Fincher’s approach to Zodiac was to create a look “mundane enough that audiences would accept that what they were watching was the truth.” This theme can be noted throughout the film, Fincher’s attention to detail created a portrayal of the everyday of late 1960’s and early 1970’s America that was noted amongst critics as “exceptional”. However, the shot in discussion breaks away from the mundane and enters the obsessive, unhealthy and idiosyncratic clutter that is Greysmith’s current headspace, physically manifesting in the composition of his home.

Homework Item #1
When I was younger one of my biggest inspirations was filmmaker and YouTuber Casey Neistat. In his videos, the combination of quick cuts and shaky, hand-held, self-portrait, close ups, created a frenetic yet personal energy. Furthered by the omnipresent backdrop of NYC, like a second character, Casey’s videos were fun, wild and exciting. The rudimentary style made his videos somehow more relatable, especially as a young aspiring filmmaker.
He was making these relatively shit videos that were raking in millions upon millions of views. I thought it was the coolest thing ever.
For our first homework task: Pre-produce & film for a 30 second sequence, I attempted to recreate a sequence from one of Casey’s videos Stolen Bike in NYC, 2013. (1.16 -1:33)

As is often the case, my reflection and epiphanies occur after the fact while I am editing my videos. As I was cutting the action of me putting on the raincoat, comparing my own cuts to Casey’s, I realised how insightful being a copycat can be. Something felt sacred about mimicking this creator I used to like. The highest form of flattery (Casey wouldn’t see it this way – he has a video called Copycats And Rip Off Artists. It has 1.7 million views. )
This creative exercise of copying Casey meant I had something to directly compare my own work to. Something tangible I can put next to my sequence, and think ‘whom does it better?’ I deconstructed Casey’s sequence so I was able to recreate it, and in the process, I was able analyse what I liked, why I liked it, how it worked and what made it work. This exercise was incredibly fruitful and interesting. I will defiantly attempt to replicate other filmmaker’s work in the future.
One point for improvement worth noting is sound. I didn’t use sound for this exercise, I think that was a mistake. A key aspect of what makes Casey’s sequence good is the sound effects paired with the playful soundtrack. Again, bringing the piece alive with his unique energy. Mine was dull in comparison.

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Homework Item #4B
Our latest in class exercise, 4B was quite educational. We got the band back together and attempted the same exercise we completed on Tuesday. This time, a full day wiser, we changed some things up. First off we rotated roles. Secondly, we entered the shoot with some points of improvement from the last shoot, in the forefront of our minds. Such points included: framing -too much headroom, and selection of lighting – therefore set location. I think we really improved on these fronts.
Constantly learning, after reflection in editing, there were still some things to improve upon. For example, the focus of the camera. The overall feel of the shot was a little soft. From past studio shoots I have experienced this very thing with these cameras when outside. Our previous class exercises were all inside, and for the most part looked pretty sharp. Leading me to believe it must have something to do with the great outdoors that is not so great.
I’m not too sure how to remedy this, since as director, I was standing behind Sam the camera operator, looking at the viewfinder before each shot. I thought it looked fine. I wonder if there is a rule of thumb to test this while on the shoot? Definably a question I will raise to Paul in class. Perhaps the answer lies with always having a monitor on set to check? Not sure, but by George, I’ll get to the bottom of this. Watch this space.

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Assessment 2, Part A

Assessment 2, Part B