But Seriously, one of the most interesting things I found interesting about this shot:
(as well as most of the movie) was the use of the short lens. They used deep focus on almost everything, suggesting an equality between Peter and Ellie- he’s finally met his match. This is balanced by the fact that while the movie is really about Peter, the shots mostly revolved around Ellie (i.e. we don’t see Peter when he gets her food, brings back the car, etc.) except for this one, a few others, and when we see Peter go to New York at the end.
This particular shot uses a high contrast lighting key, demonstrating the separation of Peter and Ellie. They are from two different worlds; Peter is in the shadow while Ellie is in the light. Peter is working, Ellie is lying down. There is a commonality between the two though; Peter has a bright light shining on him despite mostly being in the shadow. Likewise, Ellie is rather dark because she is using Peter’s coat as a blanket- she literary has a piece of him.
This shot is very open because there is much room for the characters to move around in, but it is also tightly framed with hay keeping them in relatively close proximity to each other. When this proximity is broken (Peter steps off screen to get food) there are dire ramifications and Ellie freaks out.
The dominant of the shot is Peter and his vis-à-vis is full front revealing his frustrations to the audience as he kicks hay around. This is an important time for Peter because it is at this point that his care for Ellie overcomes his frustration. He could abandon here, he could give a piece of his mind, but instead, he goes and gets her food. Ellie, on the other hand, is only seen in profile as she lies down. This is partially because she is the subsidiary contrast and partially to allow us to see Peter view point. We are at eye level with him; we are equal and thus able to understand his frustration, seeing Ellie as he does. We are look down are on her, not in a demeaning way but rather in pity. Which could very well be the catalyst for Peter change toward her.
Good stuff, Jonathan. I'd say, though, that the shot is actually a closed form. Like the tight framing you point out, the whole world, as it were, exists within the frame. Everything these characters need is here, and the set seems designed to enclose them in a romantic space. Your description gets a little hinky in the last paragraph. Just be clear about the terminology and how you apply it, in terms of angle, point of view shot, etc. Also, be sure to proofread your posts.
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