Cianfrance delivers all around on Pines. He shows an eloquence of visual storytelling grammar and communication that is exciting.
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(Story structure was the focus of my last post on this film -- very interesting structure. https://steemit.com/movies/@lionsuit/the-place-beyond-the-pines-2012-delicious-story-structure)
He knows when to use a tight, wide, handheld, locked off, shallow focus, deep focus, angles up and down, fast edit speed, the long take, etc.
Every choice with the camera or the edit razor can add to or detract from the story, from the point of the scene, from the characterization or the character's connection with the audience.
The choices in Pines so often amplify these things. The opening shot is a great example of this.
We are introducing a main character, the core or foundation of the film.
Who is he? He is a capable, man of the people, a traveling showman, a skilled motorcycle rider.
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All this we see in the opening shot. Several minutes, no editing. We start on his abs and his knife, follow him out through the carnival from behind, he gets to his bike and sits and turns--we see his face for the first time.
It is an epic presentation. It almost makes you wonder if it is there to make up for or distract from where Luke goes later in the film.
A phenomenal opening. Great vibes. Great visuals.
Another note: the shot ends on three motorcycles spinning in a metal cage as we watch from just outside the bars. The first two takes they did, director of photography Sean Bobbitt got into the cage, but the bikes crashed, obviously putting Sean into huge danger. Cianfrance made sure he stayed out from then on.
Be well. http://www.LionSuit.com
