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Mar. 15th, 2010 03:08 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
meimichi
8x02 PLASTIQUE
CLARK: They're in love, Lois. You should be happy for them.
LOIS: At least the rest of us have work.
The bullpen set has been rearranged this year.
8x03: TOXIC
TESS: After what you did to me, did you really expect me to just sit around and eat ice cream?
OLLIE: No. You'd rather work for my greatest enemy, and then, just when I think the knife can't twist any farther,
you take over his entire company.
LOIS: What am I doing? Ollie and I are through.
CLARK: Maybe. But just because the relationship's over doesn't mean the feelings go away.
I'd be lying if I said I didn't watch the goodbye tape that Lana sent me more than once.
LOIS: Well, I'd rather avoid a ride on the Clark-and-Lana roller coaster. No offense.
8x04: INSTINCT
LOIS: You are about as predictable as mullets at NASCAR. One little mention of you living alone
and you start singing the Missing Lana Blues. Now, I hate to be the one to dish out a helping of
tough love here, Clark, but Lana? Is gone for good. Time to get back in the saddle, buckaroo.
This go round, you need to look outside your wheelhouse.
CLARK: I didn't know I had a wheelhouse.
LOIS: Of course you do. Pretty. Friendly. Damsel-in-distress-y. You need to try another scoop of the 31 flavors.
Maybe a little less sweet vanilla and a lot more wild cherry.
8x05: COMMITTED
CLARK: I don't think Jimmy and Chloe would have been up for the Whitesnake singalong.
8x06: PREY
J'ONN: Where did you get this list?
CLARK: I memorized it off of Chloe's desk.
J'ONN: I didn't realize that photographic memory was among your abilities.
CLARK: It's more like speed-reading but let's not split hairs.
J'ONN: She couldn't just give you a copy?
CLARK: Chloe and I don't exactly see eye to eye on this one.
J'ONN: What about your mouthy cohort? She hasn't poked her nose into this one either.
CLARK: She's on assignment, which is code for monster truck rally in Lubbock.
8x07: IDENTITY
JIMMY: By any chance, did you take a peek at today's front page?
LOIS: I certainly did, Jimmy Olsen. I have to say that I underestimated you.
8x08: BLOODLINE
TESS: What's with all the broken glass? Is everything okay?
CHLOE: Everything except for the bird that flew into the window.
TESS: A bird? All that brainpower and that's what you come up with?
CHLOE: It was a large bird. In fact, Lois and Clark are out buying a new pane as we speak.
8x09: ABYSS
Window only cracked open. Compare to 7x10 and the Bizarro situation. Unf.
8x11: LEGION
8x12: BULLETPROOF
TESS: I've done everything you've ever asked. You've seen that. With your own eyes. And apparently, with mine.
But not anymore. I hope you watch with rapt attention as your bank accounts close.
As you lose all contact with the outside world. As your life disappears before your eyes.
Goodbye, Lex. I loved you, you son of a bitch.
8x13: POWER
8x14: REQUIEM
You guessed it - every window is open with the curtains blowing in the wiiiind.
8x15: INFAMOUS
CLARK: I want you to write my story.
8x16: TURBULENCE
DAVIS: Bless me, father, for I have sinned.
(CHURCHES ON SV STILL CREEPY.)
TESS: There he is. The prince who came to my rescue.
8x18: ETERNAL
LEX: I have slayed the beast. I am the victor and I shall claim my treasure.
(LOL no at the crest.)
8x21: INJUSTICE
Compare to 9x20.
8x22: DOOMSDAY
CLARK: Clark Kent is dead. Goodbye, Chloe.
IN CONCLUSION: WINDOWS ARE NOT GOOD IN GENERAL, AND THE ONES AT WATCHTOWER ARE FRIGGING CURSED IN PARTICULAR
For those who think that shooting any scene in the bullpen means using the windows as a centerpiece of the shot is inevitable... It's really not:
I actually wondered if this year they adjusted the set wall height a bit or something to make it easier to get the windows in the shot all the time. But it's the same. It's just with Chloe and Clark...they never used the windows a crazy amount.
Unlike, say, this season...
9x01: Savior
9x02: Metallo
LOIS: You really do care about me, don't you?
LOIS: Sometimes heroes can't do it all on their own, Chloe. That's why they need sidekicks.
Also of particular interest given the reversed Luthor crest in the mirror in 8x13:
CLARK: Talking to her just felt right.
Compare to 8x22 blocking.
LOL FOREVER at stock footage reusage from 5x05: if you're looking, you can clearly see Chloe there behind the glass setting up her desk. I don't think they've ever reused that shot before. It's curious since 1) they have a million Daily Planet establishing shots to choose from, 2) there were already multiple scenes in the basement in this episode so why would you use the pan-down to show OMG THE BASEMENT when we already know where it is?,
and 3) FOR MY OWN AMUSEMENT:
LOIS: Clark Kent! You're back I was beginning to think your family lived on some distant planet.
9x03: RABID
9x04: ECHO
CHLOE: Clark, how was I supposed to react to finding out you've been rifling through Lois' brain like you lost your keys in there?
Compare to 9x20.
LOIS: Is this an olive branch? 'Cause there better be a whole tree in here somewhere. And maybe a new pair of jeans too.
You know, it's not every day Lois Lane allows herself to be stood up.
9x05: ROULETTE
9x06: CROSSFIRE
9x07: KANDOR
9x08: IDOL
9x09: PANDORA
CLARK: Lois, what are we doing?
LOIS: I'm eating a maple donut, and you're kind of invading my personal space.
OLLIE: You know, for a guy who just a just got a mondo dose of kryptonite, you sure seem happy.
CLARK: Well, the sun is shining. Lois is gonna be all right.
9x10: DISCIPLE
Compare to 1x20 and 9x20.
9x11: WARRIOR
(I'm going by the original order.)
Closed window.
Open window.
Flight.
Closed window...
9x12: SOCIETY
...CRASH.
9x13: LEGENDS
THE TRUTH WILL SET YOU FREE.
Courtney encourages Chloe to redecorate Watchtower. Because the windows are cursed.
Note the feel-good scenes are all in front of the window.
J'ONN: I only say it because I care. You and Clark...Oliver...you're my family, here.
CLARK: Do you believe in fate, Lois?
LOIS: Only the kind you make happen.
9x14: PERSUASION
CLARK: If you were really under command to protect me, why didn't you let me kill her?
CHLOE: Because sometimes protecting you means protecting you from yourself. You're someone we all have to believe in.
Nothing can compromise that.
9x15: CONSPIRACY
LOIS: I see a table for two in our future.
9x16: ESCAPE
Hard to see, but the windows are open with the curtains blowing.
Same here.
Cockblocked.
9x17: CHECKMATE
9x18: UPGRADE
CLARK: I was such a fool to think that you could ever understand me.
9x19: CHARADE
9x20: SACRIFICE
Compare to 8x21 and 9x04.
Compare to 5x22.
Compare to 1x20 and 9x10.
FINAL ROUND-UP!
People who like to kiss in front of closed stained-glass windows:
IT WORKED OUT SO WELL FOR THE PEOPLE IN THE TOP ROW.
BUT IN CONCLUSION: BREAKING WINDOWS = ROMAAAAAANCE
BUT CHLARK ARE THE ONLY ONES TO ALSO GET A CAR AT THE SAME TIME. FULL CIRCLE.
THAT KISS HAS EVERYTHING AND THE FREAKING KITCHEN SINK. BROKEN WINDOWS, CAR, THE DAILY PLANET LOGO, RED AND BLUE WARDROBE SCHEME, AND THE FREAKING SUPERMAN HORNS PLAYING.
IN CONCLUSION, I SHIP IT HARD♥
THE END.
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no subject
Date: 2010-03-14 07:09 pm (UTC)no subject
Date: 2010-03-16 01:06 am (UTC)no subject
Date: 2010-03-14 08:39 pm (UTC)(Calling has Clana making out with Chloe seeing in front of the barn right? I didn't see that one. Also I would count the Exile glass break with epic tihngs happening. Kent men throw down! Reason why Bo is dead! )
I love love love how the sunbursts started in the hospital - I forgot about that. And it definitely started with merely trying to open up Luthor L's.
I wonder what the stain glass art in the Talon means though, a lot of people have brought that up before and they aren't really windows.
Idol has that great shot of Chloe standing in silouette in front of the window too.
IN CONCLUSION, I SHIP IT HARD ♥
HEEE!
no subject
Date: 2010-03-16 01:08 am (UTC)Well, no moar Talon anymore so I doubt we'll ever know, now that the set's gone. :(
no subject
Date: 2010-03-16 01:33 am (UTC)Poor Talon set. *tear*
no subject
Date: 2010-03-14 09:10 pm (UTC)I'd suspect they just use windows for the obvious. Namely to frame a shot, to emphasize symmetry etc. So to use the windows to frame a closing shot makes it look more ordered. So it just lends to the mood.
Or in some cases if it's framed tightly it can help makes things seem confined.
Then breaking the window is obviously very dynamic, so they use that for big turning points.
I do realize some of the windows have their own little quirks, like the Luthor crest you point out. Or the knight and his lady in the talon. There since there is a literal picture I figure it's fair enough to assume they want to make apoint if they frame the character with the symbol, like Tess with the Luthor crest.
The thing about the Planet window that intrigues is it's like a rising or setting sun. Or sometimes it could be placed like a halo.
The Watchtower window is just huge and the characters are usually dwarfed against it. Heck if I know what that means. The posies are supposed to be free thought, I looked that up before.
no subject
Date: 2010-03-14 09:14 pm (UTC)no subject
Date: 2010-03-16 01:16 am (UTC)The usage of it in S9 is so insanely constant that they're obviously going for something deliberate there though. But I noticed that there are three scenes from S5-S7 that open with pulling off the window, and all three involve Lana (Cyborg, Chlark fighting in Noir, and Traveler). And it started being very prominent in the S8 scenes with Clark and Lois, where they would be talking about Lana there as well.
no subject
Date: 2010-03-14 09:48 pm (UTC)BEST CONCLUSION EVER!
This picspam is seriously great. I don't really know what it all ~means~ but it does seem purposeful the amount they've stepped up using the Daily Planet windows. They do seem to be in like ever single DP shot in s9.
IT WORKED OUT SO WELL FOR THE PEOPLE IN THE TOP ROW.
AHAHA! One of the two people in those couples DIED so I'd say so! (Except we all know Lex isn't really ~dead~)
Seriously this is so metay and awesome I feel like I need to think thoughts about it! GREAT JOB! <3
ETA: I forgot to say: Vessel kiss= best kiss ever! It's the most epic kiss the show has ever done.
no subject
Date: 2010-03-14 11:08 pm (UTC)Well, if Lois dies, Chloe will be the real Lois Lane...so she wouldn't be really dead. :)
no subject
Date: 2010-03-16 01:20 am (UTC)I FEEL SO WARM AND FUZZY INSIDE AT THIS. THERE IS NO GREATER COMPLIMENT THAN HEARING A POST GOT SOMEONE TO THINK THOUGHTS!
no subject
Date: 2010-03-14 11:09 pm (UTC)no subject
Date: 2010-03-15 12:47 am (UTC)no subject
Date: 2010-03-15 01:29 am (UTC)From your amazing picspams it seems like their shots are typically framed with the window in the background. In "Echo", however, when Chloe is at the DP, she's framed with the DP logo in the background! It's got to be intentional, right?!
I wonder if there are other instances in s9 that support or oppose this observation.
no subject
Date: 2010-03-15 02:30 am (UTC)In both shots they've practically lit the logo up with a freaking spotlight for Chloe.
They also had this panning shot that went off the window to the logo:
But idk I think while it's pretty, the shadowy lighting is creepy too.
But there's also been a lot of creepy with the yellow-reddish filter used for their scenes a lot, which is traditionally not used for happy stuff (see: the Chlark Noir scene, Dark Thursday):
Chi suggested a while back that's why so much window this year; because they want to link up the weird lighting to Pandora's weird lighting. i.e. keep staying on this path and the world will be screwed. I don't think it's so much that they want to dissociate Clark/Lois from the logo, it's more they want to REALLY EMPHASIZE THE FORESHADOWING. It's hard not to miss how they kiss in Crossfire in front of the DP window, and then kiss in front of the window showing the red sun in Pandora.
no subject
Date: 2010-03-15 03:08 am (UTC)The yellow lighting is definitely strange. It's used whether or not a character is mind-whammied. It lends credance to the Clark is not!Clark spec that's for sure. It's also odd that the Kent house is illuminated this way too. Usually it's very bright and colorful.
PS: Carlo Marks is one fine man.
no subject
Date: 2010-03-15 03:18 am (UTC)The second cap is from Conspiracy, so that's recent.
The one with them in silhouette is from Echo (which had Chloe under the logo standing at Lois' desk).
Well, and the second row of caps with the Kent farm had Clark saying, "And I'm not even wearing red and blue," and as she walks out the door she gets the future flashes, which links up the lighting connection.
And yeah, the farm has looked dismal all year.
PS: Carlo Marks is one fine man.
I KNOW RIGHT.
no subject
Date: 2010-03-15 07:56 am (UTC)I'M THIRD TO THAT.
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Date: 2010-03-15 05:59 am (UTC)no subject
Date: 2010-03-15 07:50 am (UTC)heehee
9x10: DISCIPLE Compare to 1x20.
also similiar to "Bride"
and you missed this from "Echo"
no subject
Date: 2010-03-15 05:39 pm (UTC)no subject
Date: 2010-04-05 03:31 pm (UTC)epic epic epic
add in my memories <3