The Anatomy of a Scene
Insight from director Richard Ayoade
As I mentioned in my first post, Submarine, directed by Richard Ayodae is a very special film to me. I have decided to make some research on Ayoade's composition of one of my favorite scenes.
I truly love the overly dramatic tone that Ayoade's adds to this scene. The camera movements following Oliver while approaching Jordana under the bridge makes the scene feel very secretive. The fact that he chooses to show the viewer the complete process of approaching somebody is what puts us (the viewers) in Oliver's shoes. As I watch it, it makes me feel the same anticipation and anxiousness that Oliver seems to experience while approaching his love, Jordana. I especially love the zoom-ins to their faces once their eyes meet, making it even more dramatic and symbolic. I feel like it detaches from romance and becomes more of a goofy/awkward situation.
Not to mention I find the symmetry of the shots fascinating. I love how Oliver and Jordana are both placed exactly between the two train platforms, making the visual composition a lot more interesting and choreographed. This meticulous decision disconnects the characters and the viewers from reality, taking us to a surreal and dreamlike setting in the world of Submarine.
Finally the sequence where the characters finally kiss and the flashing polaroid camera documents the awkward scene is magnificent. As Ayodae mentions, this scene is filmed like a murder instead of a conventional romantic kiss. This is what I absolutely love about this film, I believe that the overdramatic twists ironically make it even more real and crude. This is what a first kiss feels like, uncomfortable, uneasy, and gut-wrenching, just like a murder.
I would also like to share another one of my favorites scenes from Submarine. This part of the film, right after Jordana and Oliver decide to be together, is a perfect representation of real teenage love. Young love is beautiful and dreamy, but it is also futile and ephemeral. Ayodae's choices are very effective in conveying this idea of ephemeral love. He even chooses to depict some of it through Super 8 footage, as if it was seen through Oliver's eyes, submerging us into their experience of these beautiful and ethereal instances.
In terms of art direction, I love the beginning, it reminds me of Wes Anderson and his obsession with making ordinary objects the protagonists of shots. I think that the kaleidoscope, the fog, and the contrasting colors of the whole sequence are beautiful. But what I absolutely adore is the red lights and the obstructed panoramic shot of the couple running across the deserted fair. These are images that I will consider when creating my own footage.
Not to mention I find the symmetry of the shots fascinating. I love how Oliver and Jordana are both placed exactly between the two train platforms, making the visual composition a lot more interesting and choreographed. This meticulous decision disconnects the characters and the viewers from reality, taking us to a surreal and dreamlike setting in the world of Submarine.
Finally the sequence where the characters finally kiss and the flashing polaroid camera documents the awkward scene is magnificent. As Ayodae mentions, this scene is filmed like a murder instead of a conventional romantic kiss. This is what I absolutely love about this film, I believe that the overdramatic twists ironically make it even more real and crude. This is what a first kiss feels like, uncomfortable, uneasy, and gut-wrenching, just like a murder.
I would also like to share another one of my favorites scenes from Submarine. This part of the film, right after Jordana and Oliver decide to be together, is a perfect representation of real teenage love. Young love is beautiful and dreamy, but it is also futile and ephemeral. Ayodae's choices are very effective in conveying this idea of ephemeral love. He even chooses to depict some of it through Super 8 footage, as if it was seen through Oliver's eyes, submerging us into their experience of these beautiful and ethereal instances.
In terms of art direction, I love the beginning, it reminds me of Wes Anderson and his obsession with making ordinary objects the protagonists of shots. I think that the kaleidoscope, the fog, and the contrasting colors of the whole sequence are beautiful. But what I absolutely adore is the red lights and the obstructed panoramic shot of the couple running across the deserted fair. These are images that I will consider when creating my own footage.
References:
"Alex Turner - Hiding Tonight (Submarine)." YouTube. YouTube, n.d. Web. 10 Mar. 2016.
Scott, A. O. "Coming of Age, and Then to Terms." The New York Times. The New York Times, 02 June 2011. Web. 10 Mar. 2016.
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