"There's a lot being done subconsciously to push the audience in different emotional directions."
-Andrew Wehde -Cinematographer, The Bear
The creators of the show are so thoughtful and precise! Since I wrote about colors and lighting in The Bear. I want (from a cinephile perspective) to observe the lighting and camera choices for 2x08 Bolognese and 2x09 Omelette.
After writing my meta, I listened to this podcast that focuses on The Bear's cinematography; I did this to see if I needed to be more analytical instead of a hardcore shipper. I've pondered on the similar blue lighting of Sydney's tattoo reveal and the love scene, and it's worth noting since there's more Syd & Claire scenes where you can compare the lighting and camera choices.
I interpret the two scenes as high-key lighting. The choice of a well-lit scene sets the mood for more openness and optimism. The visuals give the audience direction to focus on the script and what the actors say in the scene. This lighting choice is in romance and comedy genres. Think wedding scenes as the lighting helps the audience pay attention to the romance happening between two characters.
We can catch everything when it comes to high-key lighting, every expression, movement, and every prop in the scene. The golden sunlight gives the audience a sense of peace, romance, and a dream-like state. The two scenes suggest the warmth the main character feels for the other character on screen.
Notice the scenes where Carmy stares at Sydney? It's primarily high-key lighting. The scenes ask the audience to take notice of Carmy's perspective as he takes in Sydney.
Oh, and remember this quote from Molly (Claire):
The well-lit moment for Claire and Carmy-The lighting and camera movement at the beginning of the scene suggest the morning after, In 2x08, we get this far-away shot where we can see the window as Claire enters the kitchen.
But suddenly, we're zoomed in on Carmy and Claire's faces - this closeness feels overwhelming. It tells of the hidden dread in their relationship. The dreadfulness is prominent when Carmy gets lost, staring at Claire as he talks about the test.
This reminds me of @currymanganese reblog on the subject of color:
The pink hues overlaid on Claire's scenes(2x09 omelette) in Carmy's panic attack can also represent him trying to look at her with rose-colored glasses/rosy retrospection, and ultimately failing to do so because of the way she reminds him of his family
The exchange of looks is so interesting. Notice Carmy's worry, and Claire's smile drops for a second. The camera's movements tell the audience that Carmy looks at Claire differently. As an artist, he catches every detail of the person. The focus on Claire, what used to bring him peace, disappeared when his family ruined his inspiration and sense of joy.
Now, the table scene:
The sun is beaming through the large windows and lingers around Syd and Carmy. It's the brightest the audience has seen from this season; as the camera moves closer to Carmy and Syd, the table disappears and It's a smoother transition, and we barely notice that the table disappears from view as we're closer to the characters.
Like the scene with Claire, Carmy gets lost in staring at Sydney, but there's no sense of dread. Instead, there's almost a dazed look in his eyes as he takes her in.
Well-lit scenes focus on the dialogue, and we can compare the discussion 2x08 and 2x09- both are about sharing their worries and fears. The difference is that the light remains on Carmy and Sydney, and Carmy is completely focused on Sydney rather than what's happening in his head. The scene gives the audience this soft direction to only focus on Sydney and Carmy's few moments together. The lighting asks us to view Sydney like Carmy sees her- bright, warm, and peaceful. I consider this a positive outlook on what's to come for Syd and Carmy.
Sidebar: Another thing to make note of with cinematography- Andrew Wehde said they make notes of the lighting they want to reappear in episodes- so I'm not too far off in this meta.
Watch more:
The Bear Cinematography
Season 2 panel - this interviews mentions that scenes that's anxiety ridden uses zoom ins* -cue the Carmy Claire scenes.
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The Bear Season 1 (2022)
Created by Christopher Storer
Directed by Christopher Storer and Joanna Calo
Cinematography by Andrew Wehde
Starring Jeremy Allen White, Ayo Edebiri, Ebon Moss-Bachrach, Lionel Boyce and Abby Elliott
"It’s about consistency and being consistent. We can’t operate at a higher level without consistency."
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El mapa de las pequeñas cosas perfectas
El mapa de las pequeñas cosas perfectas
★★★★☆
El mapa de las pequeñas cosas perfectas encaja en ese grupo de pelis poco conocidas, que un día descubres por casualidad y piensas: «¿¿Por qué nadie me había hablado de ella??». Pues aquí estoy yo para hablarte de ella. La película está basada en un relato corto de Lev Grossman (quien también se encarga de escribir el guion), recogido en la antología Días de sol, noches de verano (si…
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