Wednesday, 13 November 2013

The Walking Dead: We all die alone, broken, and afraid This week’s episode of The Walking Dead, “Internment,” may well have been the strongest in what’s shaping up to be the strongest season to date. It was directed by David Boyd, one of the most talented men you’ve never heard of. He’s been the director of photography on such visually uninspiring fare as Firefly and Deadwood, so it should be no surprise that the composition and shot selection in “Internment” was barely this side of breathtaking. What do I mean? For one, Boyd’s use of close-ups in this episode weren’t used to cheaply intensify scenes whose dialogue lacked emotional impact. Unlike, say, the opening credit sequence of Law & Order: Special Victims Unit, which closes in to bring the pain and reassure you that the police always have your best interest at heart, the close-ups in “Internment” function as the necessary conclusions to terrible arguments. Consider, for example, this close-up of Rick’s gun: It’s the culmination of the should-he-or-shouldn’t-he-pick-up-arms subplot, but instead of having Rick say something about it, Boyd just places Rick’s gun in-frame and lets it speak for itself. Note, though, that the gun’s slightly off-center, a screen-position people have been trained by Hollywood to hate. The audience, then, is primed for something to happen — and conventionally, that “something” would be that the camera shifts to the left and “properly” frames the gun, dead-center, since it’s the most important element in the shot. Boyd knows that’s the expectation — he knows that his audience craves symmetry in its compositions — but instead of conceding to audience expectations, he recapitulates the should-he-or-shouldn’t-he argument: When Rick’s pea-bearing hand enters the frame, Boyd racks the focus, shifting the emphasis from the arms he just took up to the green thumbs he put them down for. In a single shot, then, Boyd’s reminded the audience of the Big Decision Rick had to make, but he did so without having to use dialogue as a crutch, as the show so often has. What could have been a tossed off transition between scenes in which characters indulge in unnecessary expository monologues is, instead, a seemingly tossed-off reminder of past soul-searching. Read the rest here.

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