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This hypnotic, soundtrack only sequence from Patlabor 2 (1993) is Mamoru Oshii's own unique brand of mise-en-scene. The framing & composition are all richly cinematic as though shot through a live-action camera, with some really interesting use of reflections and silhouettes.

blauereiter

33,676 subscribers

623,083 просмотров • 3 лет назад •via X (Twitter)

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Комментарии: 8

Фото профиля blauereiter

blauereiter3 лет назад

I always think of this sequence as kind of a precursor and practice dry run for the NIGHTSTALKER sequence from his magnum opus Ghost In The Shell -

Фото профиля blauereiter

blauereiter3 лет назад

Of course, I'll be remiss not to mention the pivotal role of composer Kenji Kawai's astounding soundtrack in Mamoru Oshii's animation films.

Фото профиля Temporary Location

Temporary Location3 лет назад

Those slice of life scenes in both Patlabors and Ghost in the Shell are some my favourite scenes in films. Have you read @anime_gaku essays on the production of the Patlabors? V good

Фото профиля blauereiter

blauereiter3 лет назад

@anime_gaku I have not, but I should ! Thanks for the recs !

Фото профиля Alex

Alex3 лет назад

@erlsn I believe all three Patlabor movies have beautiful little scenes like this, catching the zeitgeist of an alternate timeline Tokyo.

Фото профиля blauereiter

blauereiter3 лет назад

@erlsn Zeitgeist ! Couldn't have worded it better ! 🤌

Фото профиля Jollyroger At Times

Jollyroger At Times3 лет назад

Patlabor 2 is a stunning movie, it is unfortunate that it’s not as well known as some other titles. The photography is amazing.

Фото профиля Jacob Davison

Jacob Davison3 лет назад

@slimyswampghost The bit with the school kids waving to the tank driver and the driver waving back have stuck with me since I first saw the movie.

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Ghost In The Shell is packed full of memorable scenes, but the one that really impressed was the lengthy locked camera shot of the Major's bedroom during the opening. Mamoru Oshii had absolute confidence in his mise-en-scène to hold the viewer's attention. Certainly held mine.

Ghost In The Shell is packed full of memorable scenes, but the one that really impressed was the lengthy locked camera shot of the Major's bedroom during the opening. Mamoru Oshii had absolute confidence in his mise-en-scène to hold the viewer's attention. Certainly held mine.

blauereiter

250,547 просмотров • 3 лет назад

Bresson: “For me, the order and position of characters and the framing of a shot are the essence of cinema. They’re much more important than the simple, dramatic action, which is only revealed through the form the shot takes. In cinema, what matters is the form,.. 1/2

Bresson: “For me, the order and position of characters and the framing of a shot are the essence of cinema. They’re much more important than the simple, dramatic action, which is only revealed through the form the shot takes. In cinema, what matters is the form,.. 1/2

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I present to you, the best anime opening sequence ever made - Patlabor 2 : The Movie. The clip posted by OP below is the preamble before the opening sequence kicks in and sets the premise for the film.

I present to you, the best anime opening sequence ever made - Patlabor 2 : The Movie. The clip posted by OP below is the preamble before the opening sequence kicks in and sets the premise for the film.

blauereiter

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blauereiter

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blauereiter

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39,281 просмотров • 1 год назад

Crazy scene from Marco Polo, combining animation, live-action, and CG. This was a few years before Madhouse (who animated Marco Polo) would use CG in the Golgo 13 film; there are only a few instances of CG in anime before this that I can even think of.

Crazy scene from Marco Polo, combining animation, live-action, and CG. This was a few years before Madhouse (who animated Marco Polo) would use CG in the Golgo 13 film; there are only a few instances of CG in anime before this that I can even think of.

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16,803 просмотров • 6 месяцев назад

I give a lot of love to Spielberg for his blocking, but here's some really nice evolving blocking and staging from Robert Eggers and Jarin Blaschke, who, from my understanding, work closely together to conceive of these shots in prep. I love the Spielbergian use of depth and foreground-versus-background groupings relative to the camera. The simplicity of the camera staging also reminds me a bit of some of the staging in Gone with the Wind. Lots of really nice shots like this in this film, but this one really stood out for me in the theater. Nosferatu - 2024 Kudos to-- Director: Robert Eggers Director of Photography: Jarin Blaschke "A" Camera Operator: Jan Cabalka First Assistant "A" Camera: Ashley Bond Second Assistant "A" Camera: Tomáš Kutlák Dolly & Grip Department Dolly Grip: Dan Chladek Key Grip: Robert Kodera Actors: Willem Dafoe Ralph Ineson Aaron Taylor Johnson Anna Harding GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MFS - Medium Full Shot FS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats STAGING: Arrangement and composition of visual elements within a frame, including actors, set design, props, lighting, and camera positioning If you liked this, check out my Spielberg ones! #filmmaking #cinematography #roberteggers

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