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From Jason Haggstrom (haggie), Reel 3:
The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot--or at least its tone--as a thriller/murder mystery.
The first image in this extended opening shot is of a film set--a painting of one, to be precise. We hear the sounds of a film crew before a clapper pops into the frame. The (off-screen) director shouts "And... action" informing the audience that the film should be viewed as a construct, a film. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever."
The lot is filled with commotion. Writers come and go (some invited, some not) as do executives, pages, and assistants. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. The most powerful arrive by car; high-end models pervade the mise-en-scène in all of the take's exterior moments. An assistant is made to run (literally, and in high heels) for the mail, and then -- before she even has a chance to catch her breath -- to park an executive's car.
Marie writes: ever stumble upon a photo taken from a movie you've never seen? Maybe it's an official production still; part of the Studio's publicity for it at the time. Or maybe it's a recent screen capture, one countless fan-made images to be found online. Either way, I collect them like pennies in jar. I've got a folder stuffed with images, all reflecting a deep love of Cinematography and I thought I'd share some - as you never know; sometimes, the road to discovering a cinematic treasure starts with a single intriguing shot....
A Streetcar Named Desire (1951) Cinematography: Harry Stradling(click images to enlarge)
You always know with a Robert Altman film that you'll get some kind of nudge, a dig in the ribs to wake you up and make you think differently. In the days when he was riding high with "M*A*S*H" and "Nashville," and now in these latter days when his eccentricity isn't fashionable, that hasn't changed. When you ask him why he's working in Paris or on Broadway or cable TV, Altman always grins and says, "I fiddle on the corner where they throw the coins." It's one of his favorite expressions. But he fiddles where he damn well pleases.
Francois Truffaut once said that it was impossible to pay attention to a film shot in the house where you were born because you'd always be noticing that they wallpapered the bedroom. I knew I was in for the same sort of problem in the opening scene of "The Hot Spot" (opening Friday in Chicago). Dennis Hopper's new thriller was made in 1990 but its psychic center is 1957, and Don Johnson, who plays a mysterious stranger from out of town, roars onto the screen in a 1957 Studebaker Golden Hawk.