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#but romantic
thoughtfulchaos773 · 8 months
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"There's a lot being done subconsciously to push the audience in different emotional directions."
 -Andrew Wehde -Cinematographer, The Bear
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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):
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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.
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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.
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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:
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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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yumikittyproducoes · 3 months
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Here's the first draft of my Oc's playlist, just like i promised :-)
Be aware that the playlist might change with time, because i'm planning to add more songs (I just didn't find them yet)
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dominimoonbeam · 2 years
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Prompt 22 for confessions, Vega/Warden 👀
22. "I know that this is not what you want to hear..."
Oh, my friend, I don't know if this is what you were expecting but this is what happened. It's got angst... but how could it not?
tw: angst. violence. vega. possible character death but it's really up to interpretation and that's never how I interpret anything if I can help it.
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Warden watched him carefully—the way they’d been watching him since they first woke up in his care. Care. It wasn’t the wrong word, but it wasn’t quite right either.
Vega woke slowly at first and then all at once, the way someone does when they don’t usually sleep. It wasn’t really sleep. Warden had knocked him out. His breath came in snarls and his head lifted. His dark eyes, eyes with galaxies at their pits, searched the room before landing on them. The fury drained out of him in an instant.
Warden couldn’t look much better than him.
Nothing had ever been easy between them.
He had forced them to survive off pain and when they were strong enough, they had made him pay for it. When he didn’t fight back, they got up the nerve to arrest him—to bring him back to his cage. He fought then. That was all they wanted. Warden couldn’t put him back in his cage. They knew that and they hated him for it. Almost as much as they hated themself. The fight got ugly then and there was peace in that.
He crawled across the floor toward them. They’d blown out the lights and the windows. It was all glass and darkness. He reached for them and for all they wished they were stronger, smarter, better, Warden craved that contact. His fingers met the shield they had around themself. They were pouring everything they had left into that unseen wall.
Vega snarled at it, his gaze flashing to theirs. “Stop it.”
Warden smiled. He sounded like he was scolding a child but they were old too.
He pushed his power against the shield. He was tapped too but he still tried. Warden poured more into it to keep it where it was and he recoiled, eyes widening. He came up onto his knees in front of them, hands hovering but not pressing. “Fine. Fine. You win. I’ll go with you. You can play the hero and put the big bag wolf back in the cage.”
Warden shivered. Cold. “I know that this is not what you want to hear…” They poured more power. It swirled and grew in the space between them, gathering. He had to know it could ignite. He had to know, but he didn’t rift away or even move.
He couldn’t understand. They had a duty. They had promised to protect people and the things he had done were so cruel. He couldn’t understand why. That wasn’t his fault. But they understood why. And still… “I love you.”
Vega looked away from the shield and straight at them, his eyes huge and that galaxy inside breathtaking.
Warden blew them both out of Elegy, taking the whole building with them.
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jayvespertine · 1 month
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– Audrey Hepburn
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rubyleaf · 3 months
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Honestly? My main piece of advice for writing well-rounded characters is to make them a little bit lame. No real living person is 100% cool and suave 100% of the time. Everyone's a little awkward sometimes, or gets too excited about something goofy, or has a silly fear, or laughs about stupid things. Being a bit of a loser is an incurable part of the human condition. Utilize that in your writing.
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malefertile · 18 days
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never separate a lesbian and her gay man best friend/brother of the love of her life
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poetryforall · 1 month
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-Rumi
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wedarkacademia · 4 months
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- Evelyn Waugh, from Brideshead Revisited (1945)
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linktoo-doodles · 4 months
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resurrection is sort of romantic, isnt it
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bebs-art-gallery · 8 months
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The Knight of the Flowers (1894)
— by Georges Rochegrosse
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zomblorbs · 6 months
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i wish there wasn’t such a stigmatized view on platonically loving people.
I can’t call people nicknames and pet names like hun and honey without them immediately assuming i have romantic interest in them.
i can’t tell my friends i love them without adding on “platonically” or shortening the phrase “ily” “love you” “love u”
i love a lot of people. i love my sister, i love my boyfriend, and i love my best friend. All different versions of love.
let us love people openly and honestly without it being seen as “making a move” or being romantically interested.
please please please stop assuming that love is strictly romantic, i promise you life becomes so much brighter and bigger when you stop keeping love strictly romantic.
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phantom-of-the-501st · 9 months
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Remember that this is not the proof that they love each other
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That was a last-ditch attempt from Crowley to get Aziraphale to stay
This is the proof that they love each other
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Their love wasn't just made real because they kissed
It always existed
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vanalex · 30 days
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jayvespertine · 8 months
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— Trista Mateer ,“I Still Forget We’re Not Even Friends”
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blistexenthusiast · 2 months
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engraved carabiners
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bebx · 8 months
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