Photo Posts: Rhythm

This stairwell has a very chaotic rhythm The frame is divided into angular, oblique sections by the light, the contrasting tones, and the sharp lines and planes.

I took this picture in the Tanner Building. Isn't it fitting? I wanted to create a harsh, simplistic, utilitarian rhythm.

I noticed that these two crossing jet streams divided the sky into four unequal quadrants. 

3 pillars framed so that they recede into the distance.

3 dryers with circular doors. I like boring rhythms sometimes.

Photo Posts: Line and Shape

I tried to eliminate all but a very few horizontal lines in this composition. I like the way it flattens and constricts the space.

Some minimalism of line here. A few vertical, a few horizontal, and a few diagonal.

I liked the way the power lines criss-crossed the image, with the stark antennae jutting skyward.

Some chaotic natural lines, anchored by the strong vertical thrust of the trunk.

I liked the hard lines of the building and the sweeping lines of the street lights.

Photo Posts: Color

I decided to go back to the laundry room and tint it bright green. I can't get enough of how gross this place is.

Messing with saturation and brightness outside my door. I wanted to capture and accentuate the orange light of a sunset entering through the window.

In this picture I wanted to downplay the saturation and contrast and give everything a slightly pinkish hue. 

I liked the chunks of color, with the blue, the gray mountain and road, and the swaths of natural fall colors.

I love the way the sunset turns the mountains orange against the blue sky.

Shot For Shot Analyses

(Scenes are not in the order that they appear in the film. They are in the order I plan on shooting them.)

Shot 1 - Dolly in on Patrick and Lewis as they speak. A man passes behind them. This is the establishing shot. Patrick’s arm is stretched out in a power pose, and his hand is curled into an aggressive fist.

Shot 2 - Here, Patrick’s fist is emphasized even more, suggesting the rage and aggression that’s boiling just below the surface. Paul Allen walks into this space, asserting his dominance.

Shot 3 - This close-up is a psychological shot. We hear Patrick’s narration, we are in his head.

Shot 4 - Paul stands higher than Patrick, and walks into the space previously occupied by Patrick’s angry fist.

He does an obnoxious little dance as he backs up.

Triumphant exit.

Shot 5 - In this closer shot, Paul really looks like he’s leaning into Patrick’s space, and his higher position in the frame makes him appear quite condescending. Seeing so much ceiling above his head makes him seem quite important.

The shot becomes editorial as it follows the card across the room in a dramatic pan. The story is now about the card.

Shot 6 - This shot is in the psychological voice, we see what Patrick see’s. He’s looking at Marcus and comparing himself to him.

Shot 7 - Some of Patrick’s other coworkers enter. This shot is mainly a narrative shot, but it’s shot from near Patrick so that we are still sort of watching what he is seeing.

At the mention of Dorsia, everyone takes notice.

Here, Bryce and Van Patten sheepishly put their cards away. Baxter takes a dramatic drag, and Patrick removes his glasses. Everyone is bracing themselves for something amazing

Shot 8 - This shot shows that Bryce is impressed/jealous that Allen could get a reservation at Dorsia on a Friday night.

Shot 9 - Here, Van Patten smugly one-ups Patrick with his business card. This shot shows his confidence and smugness. It’s another shot that looks almost like we are seeing what Patrick is seeing, but it’s close, getting into Patrick’s space.

Shot 10 - Another shot that feels like we are close to looking through Patrick’s eyes. It’s pretty close to Bryce’s face, we feel Patrick’s rising discomfort.

Shot 11 - This shot fetishizes the card and the card-case.

Shot 12 - Paul Allen pulled out a card, here Patrick wants to challenge him. He doesn’t like that his co-workers are impressed with Paul. He wants them to admire him. We are seeing this shot from near Van-Patten. He’s probably about to compare Patrick’s card to his own.

Shot 13 - Patrick’s little moment of triumph, his arm goes back up onto the chair. Paul Allen’s intrusion is forgotten, he’s back in power.

Shot 14 - After seeing that Bryce likes Van Patten’s card more than his, Patrick pulls his angry fist up to his face. His aggression comes closer to the surface.

Shot 15 - Patrick’s dominance is challenged once again. We are right up in his face. This is deeply personal to him.

We are 100% in Patrick’s head here. He is anguishing over the beauty of this card. He is beaten.

Shot 16 - Patrick can’t take this defeat. He has lost control.

Shot 17 - Editorial shot about the card, and it fetishizes it.

Shot 12 - Probably the most important psychological shot in the whole scene, this is Patrick Bateman's POV as he sees Paul Allen's card. It's absurdly dramatic. The depth if field is very shallow, and the card is enormous in the frame. These two things emphasize the huge importance Patrick is placing on this business card.

Shot 13 - These editorial close-ups on the cards make them as important to us as they are to the men in the room.

Shot 14 - Another intrusion on Patrick’s space. This card slides in right next to his.

Shot 15 - This shot is even tighter than the shot of Van Patten’s card. A more powerful blow to Patrick’s ego.