Frame Studies by Nathan Stanton
Story artist Nathan Stanton occasionally shares film stills on his LinkedIn, with some commentary on what he sees in these particular shots. They are mostly well-known shots from classic films but it is great to hear how an experienced story artist looks at these images. It gives you an idea of the different things you can look for when watching or studying a film.
These are also exactly the kind of storytelling images that work great in a story portfolio. I’m not saying you should copy these specific images but they do give you a good impression of images that are both clear in their storytelling (information), that give you a strong impression of the way the main character(s) experience the moment (emotion) and that are visually compelling (composition).
I copied some of his observations below, be sure to follow Nathan on LinkedIn for more of these.
CLOSE ENCOUNTERS OF THE THIRD KIND (1977 / Directed by Steven Spielberg / Cinematography by Vilmos Zsigmond)
Composition in Cinema - This is one of the many great shots in this wonderful film. It's a quick one, but the composition does a lot to support the story. Plagued with visions of the devils tower, Roy Neary builds a giant version in his living room. His obsession takes over 3/4 of the frame, with him shoved into the corner of it. Great visual storytelling from the young Spielberg.
THE VIRGIN SUICIDES (1999 / Directed by Sofia Coppola / Cinematography by Edward Lachman)
Silhouette in Cinema - One of my favorite shots in this dreamy film (and another very short one). The strong foreground shape, out of focus background, and backlighting creates such a lovely but powerful image. A full story in one frame.
BIG FISH (2003 / Directed by Tim Burton / Cinematography by Philippe Rousselot)
Frame-within-a-Frame - A great POV shot from main character Edward Bloom as he sits in an office waiting for a job interview. Even though this is a quick shot, it's a memorable one given the wonderful composition. (Repetition in shapes, frame-within-a-frame, and stacking the imagery with characters in the foreground and background)
A CLOCKWORK ORANGE (1971 / Directed by Stanley Kubrick / Cinematography by John Alcott)
Lighting & Perspective - It's amazing what can be achieved with the right camera angle and some single source lighting.
One could argue that only a master of cinema like Kubrick could come up with this evocative image. A truly stunning shot.
THE OUTLAW JOSE WALES (1976 / Directed by Clint Eastwood / Cinematography by Bruce Surtees)
Stacking the Image - Talk about using every inch of the frame ! Over the shoulder set-up (with a slight down angle) makes great use of foreground, mid-ground, and background characters all in one lovely shot..... "Watch it Abe, he's meaner than a rattler and twice as fast with them pistols !”
LAWRENCE OF ARABIA (1962 / Directed by David Lean / Cinematography by Freddie Young)
Using the frame like a canvas, Lean and Young create an almost flat 2D image with this beautiful shot. (The early morning light creates an incredible palate as well )
By raising the horizon line to the top of the frame the lone figure - casting a long thin shadow - is engulfed by the desert.
AMERICAN BEAUTY (1999 / Directed by Sam Mendes / Cinematography by Conrad L. Hall)
Composition and Character Introduction - After meeting sad sack Lester Burnham in series of vignettes, we find him at work. How can we visually enhance the storytelling ? By placing the bars of code vertically on the screen with his reflection in it. A wonderful way to show how he feels 'Caged' in his miserable existence. Great stuff.....
THE MANCHURIAN CANDIDATE (1962 / Directed by John Frankenheimer / Cinematography by Lionel Lindon)
Composition in Cinema : As senator Iselin hijacks a senate meeting with claims of Communist Conspiracies, his wife Mrs. Eleanor Shaw Iselin looks on at the TV monitor in the foreground. How does Frankenheimer make it clear who is in control ? By making her the biggest person in the frame. Masterful composition & framing.
(FYI - The Criterion Collection put out a fantastic version of this in 2016. Worth every penny)
FULL METAL JACKET (1987 / Directed by Stanley Kubrick / Cinematography by Douglas Milsome)
One Point Perspective : Kubrick used this style of shot in every movie he made, but this particular one stands out. Creating an almost infinity-mirror effect (and backing up the idea visually that there is no 'individual' in the marines, but a mass entity) ..... "If you survive recruit training, you will be a weapon, you will be a minister of death praying for war.”
ELIZABETH (1998 / Directed by Shekhar Kapur / Cinematography by Remi Adefarasin)
Framing Devices : One of my favorite scenes in this wonderful film starring Cate Blanchett. As a young untested Queen, she is speaking to the powerful Catholic Church, trying to get them to vote for a 'Single Church of England'. They wield all the power, and clearly don't like her. The directer does a great job of visually showing this by having her boxed in by the men she is speaking to in every shot, until...... she wins them over with her charm, wit, and intelligence. The second half of the scene has her front and center in almost every shot - filling the frame with a commanding presence. Wonderful cinema....
NARC (2002 / Written & Directed by Joe Carnahan / Cinematography by Alex Nepomniachy)
Perspective & Composition : Another great example of enhancing the storytelling with composition. Undercover Narcotics Officer Nick Tellis is being grilled for a past incident by a police board. Even though he's at the top of the frame, he's the smallest part of it. The three person board takes up most of the space, and perspective points all attention to Nick.
(FYI - The opening of this film is like getting kicked in the face. An incredible visceral ride. Recommended viewing)
THE SHAWSHANK REDEMPTION (1994 / Directed by Frank Darabont / Cinematography by Roger Deakins)
Managing the Frame : Another fine example of using every inch of the frame - with clear Foreground, Mid-Ground, and Background elements. Beautiful composition. (The amazing thing is this is the final frame of a wonderful camera move : Starting on a down shot of Andy & Capt. Hadley - Craning down to an over the shoulder of Capt. Hadley - Then rotating around to this final frame of an over the shoulder of Andy)
"Why should I believe a smart banker like you ? So I can end up in here with you ?"
