Felix Aird's Blog

  Int. Backseat of Sam's parent's Car - Night The car stops and Sam, their Dad turns back from the driver seat to look over at Sam. Sam is looking out the window and notices the car isn't moving anymore so then looks down at the car floor before meeting their Dad's eyes. Sam turns their phone to see that they've been reading the lyrics whilst listening to {Artist} on their headphones. Dad I love you okay. Just call me if you need anything Sam nods understandingly. The point of view shifts as a hand reaches out and rubs Sam on the shoulder, and now turns to face Sam's friend. They speak clearly Will Yeah we're gonna have lots of fun aren't we Will then playfully gives Sam a light jostle and he smiles. Ext. Outside the car - night Wide shot to outside the car. Will steps out on camera side of the car door, and walks around behind the car to open it for Sam. Sam then steps out. Will then walks to the bottom of the pavement to the corner, and Sam begins to f...

Over (2015), The Fly (2014), Echo (2011) In Over , cinematography is central to constructing meaning, especially through the consistent use of extreme wide shots. The camera remains static and distant in order to create an observational or surveillance-like perspective that rejects emotional alignment with any individual. This visual detachment positions the spectator as a passive onlooker, like someone watching the news, reinforcing a sense of deporsonalisation and insignificance. The lack of shot variation also flattens dramatic emphasis, making all actions appear equally mundane. The film is built from “static long shots” with minimal movement. This restricted visual style forces the audience to actively search the frame for information, aligning spectatorship with investigation rather than immersion. In The Fly , editing is crucial in reflecting the protagonist’s psychological deterioration. The film begins with relatively slow-paced continuity editing, mirroring the initial equili...