We’ve already posted a few Tony Zhou videos in the past, but what’s different about this video is that instead of his usual analysis of a particular film or director, he devotes this video to the unappreciative art of prop production. The furniture of a movie isn’t something a viewer thinks about. But what Zhou wants you to know is that most furniture in movies, whether it’s a chair or some other prop, is carefully selected for that scene for a purpose. Props do more than simply “decorate” the scene. Sometimes props tell us more about the characters we’re watching, reveals hidden secrets we might not be realizing, and hints at story contrasts that reflects the events taking place on screen.
A filmmaker himself, Zhou’s love of film shines through in all his videos, but this video shows that he has a real knack for seeing and appreciating tiny things that most film viewers don’t see. We promise, after watching this video, you’ll be studying every movie chair you see from now on.
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If you haven’t been following Tony Zhou‘s video essays, you’re missing out. His popular videos analyze different subjects in the areas of film, from Edgar Wright to Satoshi Kon. We already wrote about his video analyzing the Korean film Mother, but his most recent video is about a person you’re probably more familiar with. With Gone Girl hitting theaters soon, Zhou focuses his latest video on the unseen genius of director David Fincher’s editing and shot work.
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If you don’t know who Tony Zhou is, now’s the perfect time to get acquainted. Zhou is a filmmaker who uploads awesome videos that analyze filmmaking techniques by famous directors. You probably heard about his video on Satoshi Kon’s editing quirks and his other video about Martin Scorsese’s use of silence. However, I want to jump back a bit and highlight an older video he did two months ago about Korean director Bong Joon-ho.
Joon-ho has been getting tons of press here in the States thanks to his first English-language film Snowpiercer, but 2009′s Mother is another great film of his. In the video (which, warning, contains spoilers), Zhou talks about Joon-ho’s expert use of telephoto profile shots. Typically directors shoot actors from the front to maximize the audience’s emotional connection to the characters. But in Mother, Joon-ho shoots emotionally charged scenes in profile. Zhou explains why Joon-ho does this in the video and explains how it’s cleverly done to reveal aspects about the characters’ humanity. It’s a fantastic example of craft and art.
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