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Fun with Franchises: Favorite Images from The Twilight Saga: Eclipse

One of the recurring features that we do in Fun with Franchises (a feature within a feature) is, after we finish watching a film, we go through and pick out our favorite images from that film. These images could be anything from really famous images from the film or franchise, really beautifully composed shots, shots that are funny to us because of the facial expressions being made in them or because of what we said about them in the article in which they appeared, or simply because they have boobs in them.

What we usually do is, just how we watch the films, Colin and I go in separately and pick out about ten to fifteen shots that we really liked. Then we compare lists, and whichever ones we both picked automatically go on our final list. And everything else we talk through and discuss why we like them, and eventually we’re left with a final list of ten images we liked the best, along with ten honorable mentions, which were also as good, but just missed out on making the list proper.

It’s not very complicated (like most things we do here on B+ Movie Blog), and is just a way for us to point out shots that we really liked in the films, especially since we tend to pick stuff that’s not always on the beaten path. (We also don’t officially rank the list of shots. We just put them in chronological order. Simply picking them is hard enough. We don’t want to make our lives any harder. Plus, we’re lazy.)

That said — here are our favorite images from The Twilight Saga: Eclipse:

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What that smell like?

All right — it’s another week of this Twilight bullshit.

I have an intro this time.

Mostly because they repeat shots I have a history of liking. Like this very obviously Days of Heaven shot. Don’t believe me? Look at this. And that’s me not even trying. I already had that one uploaded on the blog. If I were trying, I’d get one that was exactly that.

Honestly, if Colin didn’t think it felt too easy as a choice (and even then), this would have been on the list, because I don’t give a fuck. A shot that reminds me of a better movie is totally acceptable to me in a franchise like this. But, I left it off because it allowed me to find other things that were moderately interesting to talk about that I may not have gotten to talk about. So, in a comment sense, it probably was best that I left that off.

But still, that shit is better than 90% of the shots in this movie.

And I’m being nice with that percentage.

Then, there’s this shot, which I like because of the sunlight coming in on the right side of the frame. It has a weird symmetry thing going on, and I’ve always been a fan of the sunlight/water toned image, especially when it’s like this, and not full on sunlight and blue. Plus, this is the shot directly following that Days of Heaven shot up there, and you can still see some of that in the frame as well, so that helped.

I did tell Colin when I sent this to him that I was completely ignoring that she was in the image, and he said that even if you do that, it’s still hilarious looking at her legs. Which he’s totally right about. Her legs are scarily teeny, which is something I will have a field day with in the next movie, because it’s fucking disgusting.

Then there’s this shot, which I’m choosing specifically over this shot, which is the one you’d think we’d be all over, given our track record, because that first shot is the one that looks most like an old movie. That background clearly is a matte painting or a green screen or something (though it really does look like a matte), and the set around them is so clearly part of a soundstage. Even the lighting looks like studio lighting. And that makes me so goddamn happy. I want my movies to look like 40s movies. This looks like a stage that, in 1949, would also be used to shoot Battleground when they got done with this. You could literally take the movie Battleground, put it in color and put these two in there, and the set would like about 80% the same as this. And that’s why I love this shot.

Colin, of course, isn’t a fan of any shot with the main three characters of this franchise in them, unless they’re making a stupid face or being harmed in some way, so his response to my reasoning for this image was, “I hope a shell goes off right there.”

I probably should have put this on the list, but, to be honest — I really don’t like that they’re in the shot too. That shit would have been #1 if neither of them were in it and they showed us this set before they arrived on it. But them being there makes me not like the shot as much.

Then, this shot — definitely not a fan of them in it, but I am a fan of the flowers being out of focus and taking up the entire right side of the frame. That’s old school filmmaking right there. You see something like this and realize how few directors have the balls to obscure the frame and take time to formulate an image anymore. Or maybe cinematographers. Either way — you don’t see this. You barely see it in this franchise, but when you do, it stands out to me. This is the kind of stuff Disney does that makes me get excited, because it’s such great visual filmmaking. This is how you fill out a frame. Put the two of them off-center, and fill up the rest with something else. And they’re in a meadow, so this works out perfectly.

Man, I love this image, if not this shot.

And then, finally — I like the way yo neck come off.

(No joke, though — that shot looks crisp as hell, I like the weird crystal thing going on, even though I don’t understand it and it’s never explained, and I like the splash of purple amongst the red and green complements.)

All right, let’s all clear our throats and get into the list.

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Here are our picks for Eclipse:

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NO THAT’S NOT HOW YOU USE A KNIFE!

You get an F in Big Ass Shiv Wielding.

1. This shot

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Colin sent me his shots and reminded me how I said last week that this franchise was so bad, half of the shots we really like are transition shots.

So that’s what we did.

Made half our top ten list transition shots.

Because shots like this honestly look better than almost anything else in this movie.

Colin:

“The wold is changed. I feel it in the water, I feel it in the earth. I smell it in the air.”

Oh, was this not a Lord of the Rings opening shot?

2. This shot

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Because, if you take away a lot the trees and added a DB5, you’d have Skyfall.

Colin:

Mike’s got exactly the right idea here. I was looking at this, thinking about how much I’d love to fly through here in a fast car. And a grand tourer like the DB5 would be perfect. Forests are AWESOME to drive in because it tends to be a little cooler and quite shady. I used to take my car to the wooded hills around northwestern Connecticut (again, how white can someone sound?) and blast through the forests on twisting roads where you’d do 60mph and see ONE car every 20 minutes. People who say that they’d never go driving for pleasure — you’re driving the wrong car in the wrong places.

I’d hate to get a deer asshole through the windshield, though.

3. These shots

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We both picked all these shots, by the way. So it’s not like we’re making a statement and going out of our way to do this. We literally had half our lists be transition shots.

Though, here, I was hesitant about using that first one. I’m not totally on board with it, since it reminds me too much of the Dead Marshes, and were it not for the trees reflected in the water (we all know how much I like that), I’d probably have left it off my list.

So I decided I’d feel better about it being here if I included that second shot, which is just a nice shot of light reflecting on the water. If the cinematography were better (and they were going for it), they could legit have made the water look like a night sky, which would have been awesome.

But, we have this. Which is still better than most of the shots in this movie.

Colin:

That’s what these articles are. “If they had ________, they could have _____________, which would have been ____________ . ” I didn’t include the ‘awesome’ because in a lot of cases with Twilight, that last word is actually ‘passable.’  

But yeah, I really like shots with water and reflections. The first one is great, even though it does look a lot like the Dead Marshes. You know this is a real place, so in that respect, it’s got one up on the Star Wars prequels. And I like it when mountains or landscapes are reflected in water. Like when Forrest Gump is running across the US, and there’s the shot of him running by a lake and some mountains in the background? Goddamn, that looked good.

I have a feeling that, at a certain point, we’re just gonna do this for movies like that, that we reference all the time, randomly, and for fun.

And those will be fucking great articles.

4. This shot

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I love shit like this. I love seeing the edge of a city, the part that leads off into the water. I also like how calm the water is. That’s really what makes me like this shot. How that could almost be a giant, carpeted floor out there.

But yeah, big fan of docks and dock areas — those industrial shipping areas at the edge of cities — huge fan of those.

I always got upset when there weren’t more GTA missions that took place in these locations.

Or more movie scenes either. It’s prime real estate.

Colin:

This is why Mike’s always been so fond of places like 10-down.

5. This shot

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Because I fucking love this location.

This is some John Ford shit, right here.

Little stretch of land in the middle of a river where two sides meet.

Fucking great location.

It really makes me sad how few westerns get made anymore.

Colin:

This is the sort of place where you come across someone and go, “What the fuck are you doing here?” And they reply, “What the fuck are YOU doing here?” And you say, “Fair enough,” and whip out a flask to share the love.

This will be a scene in a western that I write.

You have my word, Legolas’ bow and Gimli’s axe.

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What that smell like?

6. This

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Because this is parenting.

Colin:

This is living with Kristen Stewart. I don’t even remember what the precise conversation here was, but I like to imagine her saying something, and Charlie doing his best Samuel L. Jackson voice and going, “Well allow me to retort!” *BOOZE*

7. Dakota

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The first shot is right after someone suggests they go to Aro, and she turns like, “Motherfucker what did you say to me?!” and the second is her being like, “Let’s wrap this shit up, I’m bored.”

We both had the second one, because her face amuses me. It’s that smile of, “I got this shit on lock, I’m about to have this little girl killed for no reason because I can, and this amuses me.”

I like it when psychopaths take pride in their work.

Colin:

I think I was late getting on the Dakota Fanning Bandwagon (Tell me that doesn’t sound like the name of some old-timey 50s folksy entertainment show, like in A Face in the Crowd) but this girl got some skills. I picked that first image because it scares me. Like, if she did this to me, with the craning of the neck and the glare, I’d legit cower. I think it’s the slight head tilt that does it. And the second….well, she’ll fuckin’ kill you.

8. This shot

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Because it’s fucking hilarious and speaks for itself.

Colin:

The root canal of all evil.

9. This face

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I think we’re good on an explanation.

Colin:

AHAHAHAHAHA

10. This shot

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This shot was all Colin’s doing, and I did not notice it at all — not when I took it, not when I set up the articles, not when I was pulling shots. And somehow he knew from the moment he found it that it was going on the list.

It’s because this is very old school filmmaking, in the sense that it’s just a closeup of her and the background is so out of focus that it’s just a colorful blur. And that’s amazing.

Plus, it’s so simple that you actually look at it and go, “Wait… that’s part of this movie?”

Colin:

Well, it’s “all” my doing in that I’ve been listening to Mike lament the lack of simplicity in modern shot setups for the past several years. So when this turned up, it sort of stuck out. I don’t know how intentional it was to have the setup like this, but well done, guys. 

– – – – – – – – – –

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What that smell like?

– – – – – – – – – –

Honorable Mentions:

  • This shot

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I snuck that second one on without telling Colin.

He won’t talk about that one. Just the first one.

The reason I wanted this shot on here and not as a link in the intro is because it’s not just an I Can’t Feel My Legs shot.

It totally is, don’t get me wrong, it’s just not only that. I like it because the pier is taking up pretty much the rest of the frame, and, like I did with the Edward shot last week, I was able to take the person out of context and view it just as an image — and I’m a well-documented fan of stuff like this. The single person in the frame being swallowed up by the background or the scenery or whatever. (Or, in Natalie’s case, her hair.) So I felt I wanted to have it be in the article proper for that reason.

And also because he can’t feel his legs.

And the first one we both like because it reminds us of a better movie.

Colin:

This is as close to noir as Twilight’s going to get. There’s some urban shit going on here, which is nice after two movies in Forks. It’s dark, there are shadows, it is raining. Cool.

And now that Mike’s explained the second shot beyond his legs, I have to say, I appreciate it too. I need to start looking more at shots and less at the douchebags in them.

  • Colonial America

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Because we love Colonial America.

I’d like it better if the dude wasn’t running and it was just a shot of the river and the settlement in the background.

But still, better than most of the shots in this movie.

Colin:

I like that we both chose this, cause more Colonial America. And more Cold War. Tinker Tailor Soldier Sith.

Tinker Tailor Soldier Swan

  • Red hair

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These ones were me.

I really like the cinematography of that first shot. I like the use of the red hair. This goes back to the Powell and Pressburger days. They loved redheads, because they photograph the best in Technicolor. And I like how the hair works with the blue lighting. That’s why, despite Colin’s dislike of redheads, I can’t dislike them. They look really good in Technicolor.

And the second shot — I like the red hair against the snow. And it fit with the first one, so — there.

Colin:

This is another shot (the first one) where I wasn’t really paying attention, and Mike pointed out to me. I like her in this lighting, because it makes her appear slightly less pale, but it also makes her hair that deeper, rustier hue that reminds me of movies like that. Although Powell and Pressburger made redheads look good while lighting the shit out of them, too, so maybe that’s just them. I’m sure Mike has told you before, but if you haven’t seen The Red Shoes, go do that now.

The second shot — I get why Mike picked it. It’s understandable. He likes the white, red and green, cause those are colors that seem to go together. But unlike the first shot, I don’t really see them shooting it in a particularly special way, nor is their equipment anything out of the ordinary. So what this boils down to is, “Bryce Dallas Howard has red hair in a place!” But for Twilight, that’s a home run.

  • This shot

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This was a Colin choice, but I did think about putting it on my list. It made my original list, but I took it off when I cut it down to make the number reasonable.

I do like this shot. I like them staring out over the balcony into the darkness.

Plus, I can pretend that Bella is Pippin and Rosalie is Gandalf.

Colin:

That brings up a whole new set of possibilities. Actually, this sort of a callback to our shots article from Revenge of the Sith, when we both really liked the shot of Padme’s place overlooking the city at night. What this shot is about for me is, “I want a deck like that looking at a view like that.” That’s all it is. Nice deck, I want it.

  • And these shots

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These were basically leftover transition shots.

And since the transition shots look better than almost all the other shots, I figured, “Fuck it.”

That’s how little I care about this franchise.

Plus, the shots look good.

Honestly, I got nothing. Let’s have this be my comment:

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Colin:

Nothing like a sinister swig of the good stuff.

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“Smell my fingers, bitch.”

  • This

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Because the face she makes here is exactly the right face for her character to be making in this exact situation.

And I appreciate that.

Colin:

She is good at being sexily impish. Or impishly sexy. Or both. 

  • This

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Because the more I look at it, the more this legit looks like the staging of a play.

And that fascinates me.

Colin:

Yeah, what the fuck is this blocking and where did it come from? I’m into the location, too. Is it an abandoned parking garage or something? Just concrete everywhere, and they’re set up like they’re about to do the chanting part from the Smooth Criminal video.

I gave that bitch some sparkle.

Bitches love sparkle.

  • Face/Punch

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He fucking punches that vampires HEAD OFF!

Colin:

I’m not certain we’ll be clamoring to throw Twilight references into our future Fun With Franchises articles, but I’m keeping Face/Punch.

It’s pretty funny that the one thing we will keep is a reference to a fake movie within the movies.

Even in the references, we’d rather be watching something else.

  • This

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Because it looks like the wolf is about to mount her.

And it amuses me.

Colin:

She looks like she just used a portkey.

I also like the white girl drunken boxing going on in the background.

  • This shot

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Because it reminds me of a Disney shot.

And I will always single out a Disney shot.

Colin:

I won’t always single out a Disney shot, but that’s cause I’ve only seen like half of them. Or like 30/52 or however many there were. But I saw this as more a Western thing. He’s showing up to fuck them up and it’s the walkdown. Like in The Good, the Bad, and the Ugly, or something like that. But he’s probably closer with Disney.

– – – – – – – – – –

Tomorrow are final thoughts, and then Breaking Dawn. Part 1.

(See the rest of the Fun with Franchises articles here.)

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