Free in the knowledge That one day this will end Free in the knowledge That everything is change
And this Was just a bad moment We were fumbling around But we won’t get caught like that Soldiers on our backs We won’t get caught like that
A face using fear to try to keep control But when we get together, well then, who knows
If this Was just a bad moment We were fumbling around But we won’t get caught like that Soldiers on our backs We won’t get caught like that
I talk to the face in the mirror But he can't get through I said it's time that you deliver 'Cause we see through you I talk to the face in the mirror But he can't get through Turns out we’re in this together Both me and you
Skrting On The Surface out now on XL Recordings. Mark Jenkin – Director, DOP, Editor, Grade, Sound Design, Film Processing Joel Spencer - Exec Producer Denzil Monk – Producer (Cornwall) Ella Turner – Production Manager Esme Drummond – Production Assistant Toby Matthews – Assistant Camera Callum Mitchell – 1st AD Jonny Dry – 2nd AD / COVID Supervisor Colin Holt – Lighting Camera Michael Gibson – Best Boy Joe Gray – Production Designer Luke Hudson – Standby Props Mae Voogd – Costume / MUA Izzie Jones – Production Assistant Tony Bennett – Mine Captain / Location Manager James Arscott – Rigger Niccola Ioannuo – Runner Steve Tanner – Stills Photography Bullion Productions - Production Company Bosena - Service Company Director’s Representation: OB Management | @obmanagement
The characters in the films of Paul Thomas Anderson share many similarities. They come from dysfunctional families, they are desperately seeking acceptance, they let their emotions get the best of them, and the list goes on. But a similarity that seems to especially stand out is a sense of isolation. Anderson's characters are adrift, looking for someone or something to connect with in their lonely worlds. This idea is expressed visually through the use of long/extreme long shots. We are often presented with characters lost within the frame, and therefore have trouble connecting with said characters--we become isolated ourselves. Here is a look at Anderson's use of the long/extreme long shot throughout his first six feature films. MUSIC: "Alethia" by Jonny Greenwood Films: Hard Eight (1996) Boogie Nights (1997) Magnolia (1999) Punch-Drunk Love (2002) There Will be Blood (2007) The Master (2012)
Featured at http://blogs.indiewire.com/pressplay/watch-a-video-essay-on-paul-thomas-andersons-provocative-use-of-the-long-shot-20150130
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