Relationships Between Shots (Blog #3) | "Call Me By Your Name" Scene
Scene from “Call Me By Your Name” (2017)
Overview: The scene (and film, overall) has a very “calm, realistic, laid-back” feel and the editing style mirrors this. Lots of long takes, simple/clean cuts, and continuity editing.
Style/Framing/Matched Action: At the top of this scene we are going between two close-up shots, as the characters talk about the night before. Both are “dirty” close-up-shots, so the other character is still partially in the frame (out of focus and not facing the camera) to keep the characters distances from one another clear to the viewer. We move between these shots calmly… we don't even necessarily see the character who’s speaking while they are speaking. The editor uses “L cuts” (where he uses the audio from one shot and bleeds it into the video of another) to have us sometimes watch the character who’s listening, take in the speaker, while they’re talking. When Elio (the young brunette) says “I’ll go”, the editor matches the action from him walking out of frame from his close-up shot, into the action of him leaving the frame from the close-up-shot of Oliver (the older, blonde guy). Then, the editor makes the choice to linger on Oliver, while Oliver speaks up, catches Elio’s attention, and brings him back into frame. They talk some more and the editor continues to cut and “L cut” those same two dirty-close-up-shots. Then, at seconds 32-35, they both leave the frame (on Oliver’s shot) and the editor matches the action of this exit with them entering another shot (walking with the same pace, in the same direction, and in the same placement/relationship to each-other in the frame) so we feel like we’re following their actions in real-time. This is a nice medium shot of their backs as they lightly/discreetly play with each-other’s fingers. This shot continues, uninterrupted, to follow the guys as they find a little cranny behind the magazine stand, re-adjust themselves on frame, and share another intimate moment with each other.
The 180 Degree Rule: The 180 degree rule is followed for the first 40 or so seconds, and when it’s broken in the last twenty seconds (when they are behind the magazine stand, and now Elio is on the left side of the frame, rather than the right, and Oliver is on the right, rather than the left), but it is covered in a way that totally works for the audience. They start off the shot in their original positions, and then they adjust their places/framing in the same take- without edits- so as they adjust themselves in frame, we (the audience) can adjust with them.
Eye-Line Matches/POV Shots: There aren't any eye-line matches in this scene, or direct POV shots. The way that the “dirty close-up-shots” are framed could feel a bit like POV shots, because you are seeing the back of that character’s head and it feels like you really are looking at what they’re seeing in that moment, but they aren't actual POV shots.
Color/Tone of Film: The shots are organized very simply. Just three different shots used throughout the scene. Either still camera movement (for the close-up-shots) or a very minimal hand-held-seeming shot (for the medium to tracking to medium shot of the boys as the camera follows them down the street). Color-wise, the film is also very simple/toned-down. Beautiful location and cool lighting (esp. in the magazine store… I love the greenish light behind Oliver), but it’s all very simple/minimal/toned-down in feeling.
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