There is something great about an insert. It’s an opportunity to get patina and texture into a shot that can rarely be replicated in a wider frame - especially on a low budget. That’s actually one of the reasons Nolan’s Following begins with a series of close-up insert shots. He said it was an opportunity to add production value and a feel of something more polished at the very start of the film to ease the viewer in. Not only do inserts point the viewer to pieces of crucial information but they can embody the mood of the film. They can tell us a lot about the filmmaker and this week we take a look at two films and filmmakers that really use the power of the insert to full effect. The helmers this week are Michael Bay and Ingmar Bergman, never thought you’d see those two filmmakers in the same sentence, did you?
🎬 #17 Michael Bay, Master Of The Insert.
🎬 #17 Michael Bay, Master Of The Insert.
🎬 #17 Michael Bay, Master Of The Insert.
There is something great about an insert. It’s an opportunity to get patina and texture into a shot that can rarely be replicated in a wider frame - especially on a low budget. That’s actually one of the reasons Nolan’s Following begins with a series of close-up insert shots. He said it was an opportunity to add production value and a feel of something more polished at the very start of the film to ease the viewer in. Not only do inserts point the viewer to pieces of crucial information but they can embody the mood of the film. They can tell us a lot about the filmmaker and this week we take a look at two films and filmmakers that really use the power of the insert to full effect. The helmers this week are Michael Bay and Ingmar Bergman, never thought you’d see those two filmmakers in the same sentence, did you?