In the book "Cosmopolis" by Don Delillo, Eric Packer is a ludicrously rich head of a financial firm who rides around in his limousine all day on his way to get a haircut. Outside the vehicle, the world around him rages and writhes in turmoil. People fill the streets protesting capitalism, but all Packer feels is amusement. This lack of empathy is a symptom of Eric's privilege. His privilege is a trait he has built upon with every dollar he's gained and luxury he's bought. Every ordinary event and interaction is now seen through new eyes; ones less attuned to the hearts of those struggling to get by. He sees the events around him as a spectacle, and uses the windows of the limo not only as a protective shell but also as a socioeconomic disconnect from the world around him. To Packer, everything he sees through the window is a stage set for him to interpret at his leisure, and only those he rides with are the selected audience members. One such audience member is Shiner, his security guard who travels with him at all times. Shiner is a bridge between worlds in the story, a man with a job that requires muscle, but who frequently communicates with Packer. This makes him both an observer and a participant, as he is exposed to the dangers and whims of the outside world, but also carries some of the same filter of privilege that Packer bears. Packer has one humanizing element though, one that runs throughout the entire story and in-fact drives the plot (and limo) forward. He wants a haircut, but not just any cheap shave. He wants one from a little barbershop across town, not elegant or fancy in any way. This is a symbol that deep down, Packer has the core of an every-man, a middle class American, but one who's vision is still clouded by his status and standing. Packer treats most of those around him with disregard, but this one barber, he treats with uncommon respect. It's a window, a hole in his ozone, to his true character. Just for a short time, Packer rolls down his bulletproof window and we see the real Packer within. We only see a flicker of him in the shadowy interior, but as the reader we know he's there. To the reader, this book is alarming not only because of Packer's lack of humanity, but because it shows us just how easy it can be to slip into the same cushy shoes he wears. In reality, the author attempts to show us, all it would take would be a bit of spending money and a high seat to sit on.
I read the screenplay for “The Graduate” and immediately was captured by the strange dynamic between Ben and Mrs. Robinson. I got a good idea of the framing of the two within the shots as I read their parts. What’s interesting is their emotional distance when alone, but their secret closeness when among an unsuspecting crowd. If I were the Director of Photography, I would shoot around these two characters during most interactions, regardless of if a tertiary character was speaking. These scenes are always about how Mrs. Robinson feels about Ben’s behavior around her family, or how he presents himself. I would attempt to shoot mostly at eye-level to get a level of intimacy, and get both character’s in frame at a time. These shots could be facilitated by one character having their back to the other, which works contextually because they try to maintain a sense of unfamiliarity when around Mr. Robinson or Ben’s parents. You could have interactions happening in the background, but have t...
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