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skootie116

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About skootie116

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  1. Entrances: Lorre strolls out the elevator playing with his hat and talking to himself. He moves to the door, finds his keys, fits a key to the lock. CUT to other side of door. Lorre’s second entrance: he’s stopped in his tracks. Greenstreet is already in situ, master of the place. He appears in a doorframe at the other end of the room blocking out Lorre’s reflection in the bathroom mirror behind him and continues toward Lorre at a steady pace, pistol held lightly (with serious intent?). Lighting: The lighting is motivated by set prop lighting fixtures to the side and somewhat behi
  2. We know he is Philip Marlowe because he introduces himself as such at the door, and the butler then addresses him as Mr. Marlowe. He is not overawed by the obvious luxury of the house, despite the fact that the high-soaring vertical lines dwarf his body. The ceiling is too tall to be included in the shot, but a very large, probably priceless, crystal chandelier dips in at the top of the frame. Nor is he thrown off by the lubricious taunts of the girl, but willing to play along up to a point. He keeps his balance and doesn’t humiliate her. In sum: Marlowe does not lose his cool easily
  3. Hi. Dialogue isn't always a good indicator in revealing character. People lie, to each other and to themselves. Better to watch what they do or say when they're off guard, perhaps in the heat of the moment. Look for motivation: what do they want, how do they go about getting it? The fact that they lie tells us something useful.
  4. I can't just click "Like"and leave. I want to say that I was moved by the clarity and humanity of your vision and your ability to write it. Thank you very much.
  5. Yes, leaving the class might serve you well. We're happy here and are not impressed by naysayers. Bye-bye.
  6. It was my impression that "Border Incident" was among the films that contributed to the classic noir, but not shot in that style.
  7. DDD #10 The Killers First section, in diner, plays subtle games with perspective. Angles keep one slightly off balance. High contrast. Deep blacks. Verticals sometimes aligned with frame, sometimes not. This is Expressionism gone subtle and noir. Front section of diner - Coffered ceiling included in shot and curved counter make the composition dynamic, unsettling. Hot down lights part of set design. Two eyelines against one -threatening. Only after baddies leave and door shuts is there music: a short, percussive phrase repeated progressively louder and faster. Backroom/kitchen
  8. Posted Today, 08:58 AM celmaib Posted a photo of the the Diner EXT. NIGHT I think you'll see that this is not shot on location, but in a sound stage where everything could be fully designed and controlled. It's realism but not real.
  9. Interesting how everything changes with only editing and sound. Of course you're aware that Vidor had other objectives in mind when he made the choices he did.
  10. DDD #9 Gilda Comparison of (1) “Amado Mio” and (2) "Put the Blame…”: (1) Romantic, not sexy, music. It is pleasant, rhythmic. Liight-colored beautifully designed dress, beautiful rather than glamorous. The midriff is exposed, but not the breasts; the skirt is split up the calf and thigh, but never used to titillate. Gilda seems to take pleasure in performing, sharing her physical, dancing and vocal gifts with the audience. She remains in her own sphere keeps the audience at an aesthetic distance, except when she glances at her fiancé. They are free to enjoy, not pressed to participa
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