Shot Zero
@shotzero.bsky.social
We talk shot design - because shot design isn’t just how it looks and feels, it’s how it works. www.shot-zero.com
Produced by Stu Willis & Mel Killingsworth
Produced by Stu Willis & Mel Killingsworth
#MichaelClayton 4/4
Third, the cool blue colour and lighting versus warmer red colour and phone in their respective locations.
Michael Clayton is not a subtle film (Stu, Chas and screenwriter Tom Vaughn talked about in great detail on Draft Zero!), and these three choices are powerfully clear.
Third, the cool blue colour and lighting versus warmer red colour and phone in their respective locations.
Michael Clayton is not a subtle film (Stu, Chas and screenwriter Tom Vaughn talked about in great detail on Draft Zero!), and these three choices are powerfully clear.
November 10, 2025 at 11:01 PM
#MichaelClayton 4/4
Third, the cool blue colour and lighting versus warmer red colour and phone in their respective locations.
Michael Clayton is not a subtle film (Stu, Chas and screenwriter Tom Vaughn talked about in great detail on Draft Zero!), and these three choices are powerfully clear.
Third, the cool blue colour and lighting versus warmer red colour and phone in their respective locations.
Michael Clayton is not a subtle film (Stu, Chas and screenwriter Tom Vaughn talked about in great detail on Draft Zero!), and these three choices are powerfully clear.
#MichaelClayton 3/4
Second, Michael begins the call in motion, but lands in a position which frames him in opposition to the sister; they remain ‘facing’ each other from opposite sides of frame for the remainder of the conversation.
Second, Michael begins the call in motion, but lands in a position which frames him in opposition to the sister; they remain ‘facing’ each other from opposite sides of frame for the remainder of the conversation.
November 10, 2025 at 11:01 PM
#MichaelClayton 3/4
Second, Michael begins the call in motion, but lands in a position which frames him in opposition to the sister; they remain ‘facing’ each other from opposite sides of frame for the remainder of the conversation.
Second, Michael begins the call in motion, but lands in a position which frames him in opposition to the sister; they remain ‘facing’ each other from opposite sides of frame for the remainder of the conversation.
#MichaelClayton 2/4
First, there’s a focus pull exactly as the sister turns on the light (0:13), as importance shifts from ‘the fact the phone is ringing’ to the sister and her reactions. Because the pull is quick and coordinated with the light, you may not even notice.
November 10, 2025 at 11:01 PM
#MichaelClayton 2/4
First, there’s a focus pull exactly as the sister turns on the light (0:13), as importance shifts from ‘the fact the phone is ringing’ to the sister and her reactions. Because the pull is quick and coordinated with the light, you may not even notice.
I [Mel] haven't seen it in full since last year, and writing this post made me desperate to go back and watch the whole thign start to finish!
Simply marvellous, beautiful, and FUN!
Simply marvellous, beautiful, and FUN!
November 10, 2025 at 12:56 AM
I [Mel] haven't seen it in full since last year, and writing this post made me desperate to go back and watch the whole thign start to finish!
Simply marvellous, beautiful, and FUN!
Simply marvellous, beautiful, and FUN!
November 10, 2025 at 12:01 AM
Such a wonderful, tactile scene!!!!
November 9, 2025 at 8:54 AM
Such a wonderful, tactile scene!!!!
#Intimidation 3/3
After giving us the full Panic Attack treatment, the scene ends with a SMASH CUT TO a phone ringing, mixed in with the alarm sound, to get us to a totally different (but still related) scene.
After giving us the full Panic Attack treatment, the scene ends with a SMASH CUT TO a phone ringing, mixed in with the alarm sound, to get us to a totally different (but still related) scene.
November 8, 2025 at 11:02 PM
#Intimidation 3/3
After giving us the full Panic Attack treatment, the scene ends with a SMASH CUT TO a phone ringing, mixed in with the alarm sound, to get us to a totally different (but still related) scene.
After giving us the full Panic Attack treatment, the scene ends with a SMASH CUT TO a phone ringing, mixed in with the alarm sound, to get us to a totally different (but still related) scene.
#Intimidation 2/3
not only the thief’s movements but his experience, before a 12-second (!!!) ECU of the thief's ear.
It’s a wonderful depiction of panic in 60 seconds which puts us 'in his shoes,' makes us feel his panic, then forces us to sit and consider how LOUD the alarm and sirens sound.
not only the thief’s movements but his experience, before a 12-second (!!!) ECU of the thief's ear.
It’s a wonderful depiction of panic in 60 seconds which puts us 'in his shoes,' makes us feel his panic, then forces us to sit and consider how LOUD the alarm and sirens sound.
November 8, 2025 at 11:02 PM
#Intimidation 2/3
not only the thief’s movements but his experience, before a 12-second (!!!) ECU of the thief's ear.
It’s a wonderful depiction of panic in 60 seconds which puts us 'in his shoes,' makes us feel his panic, then forces us to sit and consider how LOUD the alarm and sirens sound.
not only the thief’s movements but his experience, before a 12-second (!!!) ECU of the thief's ear.
It’s a wonderful depiction of panic in 60 seconds which puts us 'in his shoes,' makes us feel his panic, then forces us to sit and consider how LOUD the alarm and sirens sound.
#TheLastStopinYumaCounty 3/3
CHARACTER it doesn’t just give a top-down and close-up of Charlotte’s actions, it gives us multiple shots of her face to watch her make a decision whether to take a risk, if she can get away with it, if she could live with herself if it works or fails.
CHARACTER it doesn’t just give a top-down and close-up of Charlotte’s actions, it gives us multiple shots of her face to watch her make a decision whether to take a risk, if she can get away with it, if she could live with herself if it works or fails.
November 5, 2025 at 11:01 PM
#TheLastStopinYumaCounty 3/3
CHARACTER it doesn’t just give a top-down and close-up of Charlotte’s actions, it gives us multiple shots of her face to watch her make a decision whether to take a risk, if she can get away with it, if she could live with herself if it works or fails.
CHARACTER it doesn’t just give a top-down and close-up of Charlotte’s actions, it gives us multiple shots of her face to watch her make a decision whether to take a risk, if she can get away with it, if she could live with herself if it works or fails.
#TheLastStopinYumaCounty 2/3
PRETTY gorgeous shot through the carafe, nice teal/white/brown pops, pleasing symmetry with the three cups; it’s a good looking movie!
PRETTY gorgeous shot through the carafe, nice teal/white/brown pops, pleasing symmetry with the three cups; it’s a good looking movie!
November 5, 2025 at 11:01 PM
#TheLastStopinYumaCounty 2/3
PRETTY gorgeous shot through the carafe, nice teal/white/brown pops, pleasing symmetry with the three cups; it’s a good looking movie!
PRETTY gorgeous shot through the carafe, nice teal/white/brown pops, pleasing symmetry with the three cups; it’s a good looking movie!
2/2
This #GiriHaji scene uses stairs to demonstrate how its characters feel.
Much like the detectives themselves, every shot of the talk between Kenzo (Takehiro Hira) and Sarah (Kelly Macdonald) is beautiful, intentional, sometimes a little off-kilter and other times feeling quite unbalanced.
This #GiriHaji scene uses stairs to demonstrate how its characters feel.
Much like the detectives themselves, every shot of the talk between Kenzo (Takehiro Hira) and Sarah (Kelly Macdonald) is beautiful, intentional, sometimes a little off-kilter and other times feeling quite unbalanced.
November 4, 2025 at 11:01 PM
2/2
This #GiriHaji scene uses stairs to demonstrate how its characters feel.
Much like the detectives themselves, every shot of the talk between Kenzo (Takehiro Hira) and Sarah (Kelly Macdonald) is beautiful, intentional, sometimes a little off-kilter and other times feeling quite unbalanced.
This #GiriHaji scene uses stairs to demonstrate how its characters feel.
Much like the detectives themselves, every shot of the talk between Kenzo (Takehiro Hira) and Sarah (Kelly Macdonald) is beautiful, intentional, sometimes a little off-kilter and other times feeling quite unbalanced.