The Walking Dead S5E3 and deeper appreciation for cinematography

Just finished watching The Walking Dead S5E3 titled ‘4 Walls and a Roof’. As usual, no spoilers here, just a review of it. It was a HUGE episode. It was bigger than the season premiere because some MAJOR events take place in this one. Not action-y stuff, but more significant incidents that didn’t require the use of explosions like the premiere. They also reference events in the very first season of The Walking Dead for the first time ever!! (I’m talking about Jim from season 1, if you watch The Walking Dead) Which was a very sweet thing to do; Never forget your roots, that’s how I like it. As usual, they left us hanging at the end of the episode so I’ll have to wait until next week to find out what happens after. I love cliffhangers and hate them so much! They leave us wanting more, but they leave us wanting more.

As you know, I had been to a screening of The Shining at a local film archive (read a couple’ blog posts before this one to find out about that.) Also, I close-watched The Godfather Trilogy: The Coppola Restoration; Meaning I watched intently to absorb more.(quite the opposite of something one would do at a Marvel movie, no?) First off, the restoration process is something that almost no one appreciates. There was a documentary that detailed how difficult it was to take the original film and re-master it so that the noise is gone and the blacks remain black, since cinematographer Gordon Willis was widely knows as the ‘prince of darkness’, they didn’t want to lose the original character of key scenes of the original film. Some bits of the film were damaged or a bit peeled off on the edge, so they had to fix that stuff without touching the actual negatives, and that is tougher than you think. Anyway; Watching these films has yet again given me more inspiration to write and visualise a film of my own (it is something I’m always thinking about. One day maybe, and wouldn’t it be wonderful to come back and read this blog post on that day…) and also made me greatly appreciate the deep, delicate art that is cinematography. When you see Vito Corleone or Michael Corleone sitting on his chair glancing into the nothingness and completely engulfed in darkness, it is so terrifyingly beautiful and significant to the character himself.(More so for Michael, who was very twisted and rotten compared to his father who was, I would argue, a righteous mafia don with moral values and family honour.) The blacks in the frame are completely black, yet when we come outdoors, there is a golden tinge to the picture which adds character to the frame itself. Just masters of their craft: Francis Ford Coppola and Gordon Willis. While in The Shining, we see the opposite of what we saw in The Godfather trilogy in terms of camera methods. The Shining had extensive, and brilliant, use of the steadicam. (Again, the kid on the tricycle… Creepiest, most masterful shot ever.) that encapsulated the significance of the flow of time in the film and time for the characters. (the notion of time plays significant in the countless interpretations of the films meaning made by many)

Well, that was nice to write; Stuff I truly love and admire and can actually claim to know a bit about on a mildly intellectual level. See you tomorrow!

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