(no subject)
Mar. 15th, 2010 03:09 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
meimichiGuys, this is absolutely, hands-down, unquestionably, the most insanely lame and nerdy thing I have ever done in fandom. :(
I am slightly ashamed, but I also was interested enough in the idea to want to *~share it~*. But I also recognize the inherent lameness in putting this together and am not really expecting anyone to care about this but me. Well, me and the people who want to mock the delusions of Chloisers clinging to that last thread of reality OMG with their desperate frantic fanwank which is DELUSIONAL!!!!!! DELUSIONAL!!!!, as I have no doubt my post will provide many lulz for you.
This list is by no means complete. It would be kind of scary if it were. :P If I forgot something really major then remind me.
Okay, before we get to the actual point, I would like to preface this with the obvious point that: CAR CRASHES ON SV = EPIC SHIT GOES DOWN.
1x01: Pilot
Lex hits Clark. Clark saves him and gives him the *~kiss of life~*.
3x08: Shattered
Lex learns the secret.
4x12: Pariah
Chloe learns the secret.
5x22: Vessel
Chloe and Clark kiss in the Daily Planet.
I cannot remember Lana ever getting a moment like this (someone remind me if I'm missing it). When she learned the secret, it was in the comparatively less epic (if gorgeously directed) wine cellar of SECRETS AND LIES. And the Clark/Lana epic kiss moments, Power aside, were usually in the barn. That said, she did get:
5x15: Cyborg
Victor and his girlfriend = Clark and Lana, so Lana gets the Diet Coke version of Clark.
So, windows on Smallville. Yes, this is another one of those "I HAVE A HUGE CRUSH ON THE PRODUCTION DESIGN TEAM" moments.
Smallville, in general, hearts windows in its sets. In particular, it hearts windows of the stained glass variety. The Luthor mansion, Smallville Medical Center, the Daily Planet basement, and Watchtower all have stained glass windows.
In particular, the stained glass windows of the Daily Planet have been used as the centerpiece of shots this year in just about every Clark/Lois scene that takes place in the basement. The reason I thought this was weird was that the only time I could offhand remember that weird blocking in a scene, with the window between both parties, was in the incredibly crappy Chloe/Clark scene in Noir in the basement, where Chloe is keeping Lana's secret and Clark freaks out and shakes Chloe and hurts her. (That also had the weird yellow lighting they are constantly favoring for the Clark/Lois scenes this year but I'm not getting into all the yellow-lit scenes or we'll be here all freaking day.) It's not a happy scene.
Everyone knows I don't ship it, lol. However, I was intrigued by this S9 choice of the windows being *~romantic~* and shippy, since the more I thought about it, the more I realized that epic moments on SV often involve windows breaking.
So I got curious and started going through old episodes looking for how the Daily Planet windows were used in shot compositions in the past few years, and who else they were regularly used with.
Eventually, it clicked that the window shot composition (along with the window-breakage), has been going on in the show for years, and in various sets.
THIS IS SO LAME AND ALSO EXCITES ME SO I HAVE DECIDED TO SHARE MY FINDINGS IN PICSPAM FORM.
I don't really have an all-encompassing answer for what the windows *~mean~* aside from except when they're closed and couples are on opposing sides of it in blocking, it's usually not good.![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
chiri_chan suggested that given the Through the Looking Glass theme for this year, as well as the show's long-running fondness for mirror imagery (both literal and metaphorical) that there's something going on there.
Also, assuming they're going for some meta stuff with the windows explains a whole lot about the sometimes very weird blocking and the RIDICULOUS AMOUNT OF CLOSEUPS ON THIS SHOW.
I basically worked backwards from S9 and took caps. Obviiiiously since most of the sets with big window centerpieces were not added until later years, this didn't become a big *~meaningful thing~* until later but for the sake of completeness I went looking throughout the whole series for scenes meeting my criteria.
MY PERSONAL RULES FOR CAP-COLLECTING: for the window shots to "count," it cannot be from a walk-and-talk shot, but rather the camera must be basically static (or, if it's moving, the windows must be reaaaally obvious in the shot composition to "count"). The walk-and-talk nature of the DP basement scenes of course means that the windows are constantly a factor; you can't keep them in or out of the shot 100% of the time.
And I don't care about the mansion windows unless the crest is showing, because composition-wise they seem to care only about the crest and the *~Luthor-ness~* it represents, than the windows in general. Being in the shot with the crest seems to be all about how Team Luthor you are.
POST #1: THE PRELIMINARIES (SEASONS 1-4)
1x02 METAMORPHOSIS
The first shot of the mansion set.
LANA: This is an amazing place.
CLARK: My dad built it. He calls it my Fortress of Solitude.
LANA: Didn't know you were into astronomy. … Did you know you can see my house from here?
1x05 COOL
The Luthor mansion used to have low-hanging chandeliers that would obscure the crest when needed.
Lex tries to help the Kents with their financial problems in this scene, which is definitely not *~evol~* so no crest.
1x10: SHIMMER
CLARK: What I wanted to say was… I would never do anything to hurt you.
LANA: I know that.
CLARK: But if I said what I really wanted to say right now, that's what I'd do. I'd hurt you.
LANA: Why don't you take a shot? I'm pretty strong.
CLARK: I know. But I think Whitney needs to know that too.
LANA: I thought you didn't want to talk about Whitney.
CLARK: I don't. But if you were my girlfriend, standing in Whitney's loft, I'd hope he'd say the same thing.
LANA: Clark, why are you saying this?
CLARK: Because after all this time, you and I are finally friends and I don't wanna lose that.
LANA: Look… We missed it.
1x11: HUG
LEX: Trust me, Clark. Our friendship is gonna be the stuff of legend.
1x13: KINETIC
Still with the chandelier obscuring the crest...
1x15: NICODEMUS
...but here it is now.
1x20: OBSCURA
Compare to 9x10 and 9x20.
1x21: TEMPEST
LEX: I believe the term is, cry, "Havoc," and let slip the dogs of war.
2x02: HEAT
LEX: From the day you pulled me out of that river, you're the one person I could trust completely.
CLARK: I'm glad you feel that way, Lex.
LEX: Maybe that's why I find your infatuation with my wife so troubling.
So the crest shows up when Lex is mindwhammied by Desiree, but...
...when he snaps out of it, it disppears.
2x05: NOCTURNE
LIONEL: I wonder what they would think of you meddling in their affairs. You think if you're a very good boy, they'll welcome you into their family?
LEX: Well, it would certainly be a step up.
2x07: LINEAGE
JONATHAN: Jonathan Kent.
LIONEL: Nice to meet you, Mr. Kent. If there is ever anything I can do for you, please, call me. I mean that, Mr. Kent.
2x08: RYAN
LEX: Real life isn't a comic book. Sometimes you have to get your hands dirty, make compromises.
RYAN: That's what your father told you. Doesn't mean it's right.
2x10: SKINWALKER
KYLA: Our ancestors say that there used to be a star there. That's where Numan came from.
CLARK: And what happened to it?
KYLA: You tell me. You're the one who fell from the sky.
LANA: Whitney's mom just called. He's missing in action.
2x11: VISAGE
CLARK: If I knew someone was investigating me, I'd be a little ticked off too.
2x12: INSURGENCE
LEX: I'm not my father. All I want to know is how he found out, and how I can stop it from happening again.
2x15: PRODIGAL
LUCAS: Face it, Lex. I'm the son he wants.
LEX: Careful, Lucas. You're showing your hand.
2x17: ROSETTA
LEX: Aren't you gonna open it?
CLARK: It's probably just junk mail.
2x18 VISITOR
LANA: Well, um, I guess I'd try and keep an open mind?
CLARK: You'd never feel completely comfortable with him, would you.
LANA: I have to admit, I'd be a little freaked out. Does that make me a bad person?
CLARK: No. Just honest.
LANA: Clark, look. Think it's a spaceship?
CLARK: It's just a shooting star.
2x19: PRECIPICE
LEX: And I know it doesn't make you mad that you needed Clark Kent to save you. Again.
2x22: CALLING
2x23: EXODUS
CLARK: Just watching the sunset. I hope it's not the last one I see from up here.
JONATHAN: It won't be, Clark. Son, it's just another sundown.
3x01: EXILE
JONATHAN: Son, you're coming home with me. Now.
3x02: PHOENIX
LEX: I was hoping we could give the honeymoon another shot.
HELEN: You don't let go of things, Lex. I know you.
LEX: Yes, you do. You and I understand each other because we're similar creatures. We've both done our share of maneuvering.
In a twisted way, I guess that's why we're perfect for each other.
3x05: PERRY
LEX: I'm surprised you didn't go to Clark with this.
LANA: Clark's with him.
LEX: ...so you want me to run him out of town?
3x06 RELIC
LEX: Your parents' death was no accident.
LIONEL: I always suspected this. I knew my father had enemies…
LEX: That's not what you told the police.
3x07: MAGNETIC
LANA: I'm glad you think so, because last time I checked, you and I were just friends.
3x08: SHATTERED
Compare to 5x02.
3x11: DELETE
3x12: HEREAFTER
CLARK: It's hard when you blame yourself for everything that happens.
LANA: ...I'd better go.
3x13: VELOCITY
LANA: I hope your dad likes the balloons. It was either these or the get-well-teddy-bear.
CLARK: He'll love them.
3x19: MEMORIA
4x01: CRUSADE
Churches on SV are almost always creepy.
4x05: RUN
LEX: Clark. I thought you'd like to know, I had the manuscript examined by a team of experts. Do you know what they discovered?
...that I paid too much for it. Thanks for checking in on me.
4x06: JINX
CLARK: Yeah, I guess the whole "if you love them set them free" thing kinda backfired.
LEX: It's not about love, Clark. It's about what you're willing to do for it. On that field, you'll do whatever it takes to win.
But if you're not willing to do the same for Lana, maybe she doesn't mean as much to you as you think.
4x10: SCARE
LANA: The meteor shower. You came the same day. How could I be so stupid?
CLARK: The meteor shower is the reason I'm here. I'm from a planet called Krypton.
Lana, I wanted to tell you. I didn't think you'd accept me.
LANA: You're not even human.
4x12 PARIAH
LEX: I don't usually involve myself in other people's affairs of the heart, Genevieve.
GENEVIEVE: You did intervene at the high school.
LEX: …that was a civic matter.
4x13 RECRUIT
LEX: Contrary to what you may think, I'm on your side.
LANA: And how would I know that? You know, with you, everything seems like it's a secret!
LEX: What you may perceive as secrecy, I see as precautions.
LANA: I'm a big girl, Lex, I don't need precautions, I need the truth.
LEX: Sometimes we think we want the truth until we actually get it.
4x15: SACRED
LIONEL: Either you're the best con man in the world, or you are truly unbelievably naive. Good afternoon, Lex.
4x17: ONYX
LIONEL: A man can't deny his true nature, can he, Lex? No. We're Luthors. We're Luthors.
4x20: AGELESS
LIONEL: You can go on for the rest of your life being mistrustful of me, or you can accept me as your father who loves you.
...she's dangerous, Lex. She... Watch your back, son.
LEX: I always do.
4x22: COMMENCEMENT
LANA: Lex, a woman is dead because of me! I killed her!
LEX: No, no. You had no choice. You did what anyone would do if their life was at stake.
ON TO PART 2
I am slightly ashamed, but I also was interested enough in the idea to want to *~share it~*. But I also recognize the inherent lameness in putting this together and am not really expecting anyone to care about this but me. Well, me and the people who want to mock the delusions of Chloisers clinging to that last thread of reality OMG with their desperate frantic fanwank which is DELUSIONAL!!!!!! DELUSIONAL!!!!, as I have no doubt my post will provide many lulz for you.
This list is by no means complete. It would be kind of scary if it were. :P If I forgot something really major then remind me.
Okay, before we get to the actual point, I would like to preface this with the obvious point that: CAR CRASHES ON SV = EPIC SHIT GOES DOWN.
1x01: Pilot
Lex hits Clark. Clark saves him and gives him the *~kiss of life~*.
3x08: Shattered
Lex learns the secret.
4x12: Pariah
Chloe learns the secret.
5x22: Vessel
Chloe and Clark kiss in the Daily Planet.
I cannot remember Lana ever getting a moment like this (someone remind me if I'm missing it). When she learned the secret, it was in the comparatively less epic (if gorgeously directed) wine cellar of SECRETS AND LIES. And the Clark/Lana epic kiss moments, Power aside, were usually in the barn. That said, she did get:
Victor and his girlfriend = Clark and Lana, so Lana gets the Diet Coke version of Clark.
So, windows on Smallville. Yes, this is another one of those "I HAVE A HUGE CRUSH ON THE PRODUCTION DESIGN TEAM" moments.
Smallville, in general, hearts windows in its sets. In particular, it hearts windows of the stained glass variety. The Luthor mansion, Smallville Medical Center, the Daily Planet basement, and Watchtower all have stained glass windows.
In particular, the stained glass windows of the Daily Planet have been used as the centerpiece of shots this year in just about every Clark/Lois scene that takes place in the basement. The reason I thought this was weird was that the only time I could offhand remember that weird blocking in a scene, with the window between both parties, was in the incredibly crappy Chloe/Clark scene in Noir in the basement, where Chloe is keeping Lana's secret and Clark freaks out and shakes Chloe and hurts her. (That also had the weird yellow lighting they are constantly favoring for the Clark/Lois scenes this year but I'm not getting into all the yellow-lit scenes or we'll be here all freaking day.) It's not a happy scene.
Everyone knows I don't ship it, lol. However, I was intrigued by this S9 choice of the windows being *~romantic~* and shippy, since the more I thought about it, the more I realized that epic moments on SV often involve windows breaking.
So I got curious and started going through old episodes looking for how the Daily Planet windows were used in shot compositions in the past few years, and who else they were regularly used with.
Eventually, it clicked that the window shot composition (along with the window-breakage), has been going on in the show for years, and in various sets.
THIS IS SO LAME AND ALSO EXCITES ME SO I HAVE DECIDED TO SHARE MY FINDINGS IN PICSPAM FORM.
I don't really have an all-encompassing answer for what the windows *~mean~* aside from except when they're closed and couples are on opposing sides of it in blocking, it's usually not good.
chiri_chan suggested that given the Through the Looking Glass theme for this year, as well as the show's long-running fondness for mirror imagery (both literal and metaphorical) that there's something going on there.Also, assuming they're going for some meta stuff with the windows explains a whole lot about the sometimes very weird blocking and the RIDICULOUS AMOUNT OF CLOSEUPS ON THIS SHOW.
I basically worked backwards from S9 and took caps. Obviiiiously since most of the sets with big window centerpieces were not added until later years, this didn't become a big *~meaningful thing~* until later but for the sake of completeness I went looking throughout the whole series for scenes meeting my criteria.
MY PERSONAL RULES FOR CAP-COLLECTING: for the window shots to "count," it cannot be from a walk-and-talk shot, but rather the camera must be basically static (or, if it's moving, the windows must be reaaaally obvious in the shot composition to "count"). The walk-and-talk nature of the DP basement scenes of course means that the windows are constantly a factor; you can't keep them in or out of the shot 100% of the time.
And I don't care about the mansion windows unless the crest is showing, because composition-wise they seem to care only about the crest and the *~Luthor-ness~* it represents, than the windows in general. Being in the shot with the crest seems to be all about how Team Luthor you are.
The first shot of the mansion set.
LANA: This is an amazing place.
CLARK: My dad built it. He calls it my Fortress of Solitude.
LANA: Didn't know you were into astronomy. … Did you know you can see my house from here?
1x05 COOL
The Luthor mansion used to have low-hanging chandeliers that would obscure the crest when needed.
Lex tries to help the Kents with their financial problems in this scene, which is definitely not *~evol~* so no crest.
1x10: SHIMMER
CLARK: What I wanted to say was… I would never do anything to hurt you.
LANA: I know that.
CLARK: But if I said what I really wanted to say right now, that's what I'd do. I'd hurt you.
LANA: Why don't you take a shot? I'm pretty strong.
CLARK: I know. But I think Whitney needs to know that too.
LANA: I thought you didn't want to talk about Whitney.
CLARK: I don't. But if you were my girlfriend, standing in Whitney's loft, I'd hope he'd say the same thing.
LANA: Clark, why are you saying this?
CLARK: Because after all this time, you and I are finally friends and I don't wanna lose that.
LANA: Look… We missed it.
1x11: HUG
LEX: Trust me, Clark. Our friendship is gonna be the stuff of legend.
1x13: KINETIC
Still with the chandelier obscuring the crest...
1x15: NICODEMUS
...but here it is now.
1x20: OBSCURA
Compare to 9x10 and 9x20.
1x21: TEMPEST
LEX: I believe the term is, cry, "Havoc," and let slip the dogs of war.
2x02: HEAT
LEX: From the day you pulled me out of that river, you're the one person I could trust completely.
CLARK: I'm glad you feel that way, Lex.
LEX: Maybe that's why I find your infatuation with my wife so troubling.
So the crest shows up when Lex is mindwhammied by Desiree, but...
...when he snaps out of it, it disppears.
2x05: NOCTURNE
LIONEL: I wonder what they would think of you meddling in their affairs. You think if you're a very good boy, they'll welcome you into their family?
LEX: Well, it would certainly be a step up.
2x07: LINEAGE
JONATHAN: Jonathan Kent.
LIONEL: Nice to meet you, Mr. Kent. If there is ever anything I can do for you, please, call me. I mean that, Mr. Kent.
2x08: RYAN
LEX: Real life isn't a comic book. Sometimes you have to get your hands dirty, make compromises.
RYAN: That's what your father told you. Doesn't mean it's right.
2x10: SKINWALKER
KYLA: Our ancestors say that there used to be a star there. That's where Numan came from.
CLARK: And what happened to it?
KYLA: You tell me. You're the one who fell from the sky.
LANA: Whitney's mom just called. He's missing in action.
2x11: VISAGE
CLARK: If I knew someone was investigating me, I'd be a little ticked off too.
2x12: INSURGENCE
LEX: I'm not my father. All I want to know is how he found out, and how I can stop it from happening again.
2x15: PRODIGAL
LUCAS: Face it, Lex. I'm the son he wants.
LEX: Careful, Lucas. You're showing your hand.
2x17: ROSETTA
LEX: Aren't you gonna open it?
CLARK: It's probably just junk mail.
2x18 VISITOR
LANA: Well, um, I guess I'd try and keep an open mind?
CLARK: You'd never feel completely comfortable with him, would you.
LANA: I have to admit, I'd be a little freaked out. Does that make me a bad person?
CLARK: No. Just honest.
LANA: Clark, look. Think it's a spaceship?
CLARK: It's just a shooting star.
2x19: PRECIPICE
LEX: And I know it doesn't make you mad that you needed Clark Kent to save you. Again.
2x22: CALLING
2x23: EXODUS
CLARK: Just watching the sunset. I hope it's not the last one I see from up here.
JONATHAN: It won't be, Clark. Son, it's just another sundown.
3x01: EXILE
JONATHAN: Son, you're coming home with me. Now.
3x02: PHOENIX
LEX: I was hoping we could give the honeymoon another shot.
HELEN: You don't let go of things, Lex. I know you.
LEX: Yes, you do. You and I understand each other because we're similar creatures. We've both done our share of maneuvering.
In a twisted way, I guess that's why we're perfect for each other.
3x05: PERRY
LEX: I'm surprised you didn't go to Clark with this.
LANA: Clark's with him.
LEX: ...so you want me to run him out of town?
3x06 RELIC
LEX: Your parents' death was no accident.
LIONEL: I always suspected this. I knew my father had enemies…
LEX: That's not what you told the police.
3x07: MAGNETIC
LANA: I'm glad you think so, because last time I checked, you and I were just friends.
3x08: SHATTERED
Compare to 5x02.
3x11: DELETE
3x12: HEREAFTER
CLARK: It's hard when you blame yourself for everything that happens.
LANA: ...I'd better go.
3x13: VELOCITY
LANA: I hope your dad likes the balloons. It was either these or the get-well-teddy-bear.
CLARK: He'll love them.
3x19: MEMORIA
4x01: CRUSADE
Churches on SV are almost always creepy.
4x05: RUN
LEX: Clark. I thought you'd like to know, I had the manuscript examined by a team of experts. Do you know what they discovered?
...that I paid too much for it. Thanks for checking in on me.
4x06: JINX
CLARK: Yeah, I guess the whole "if you love them set them free" thing kinda backfired.
LEX: It's not about love, Clark. It's about what you're willing to do for it. On that field, you'll do whatever it takes to win.
But if you're not willing to do the same for Lana, maybe she doesn't mean as much to you as you think.
4x10: SCARE
LANA: The meteor shower. You came the same day. How could I be so stupid?
CLARK: The meteor shower is the reason I'm here. I'm from a planet called Krypton.
Lana, I wanted to tell you. I didn't think you'd accept me.
LANA: You're not even human.
4x12 PARIAH
LEX: I don't usually involve myself in other people's affairs of the heart, Genevieve.
GENEVIEVE: You did intervene at the high school.
LEX: …that was a civic matter.
4x13 RECRUIT
LEX: Contrary to what you may think, I'm on your side.
LANA: And how would I know that? You know, with you, everything seems like it's a secret!
LEX: What you may perceive as secrecy, I see as precautions.
LANA: I'm a big girl, Lex, I don't need precautions, I need the truth.
LEX: Sometimes we think we want the truth until we actually get it.
4x15: SACRED
LIONEL: Either you're the best con man in the world, or you are truly unbelievably naive. Good afternoon, Lex.
4x17: ONYX
LIONEL: A man can't deny his true nature, can he, Lex? No. We're Luthors. We're Luthors.
4x20: AGELESS
LIONEL: You can go on for the rest of your life being mistrustful of me, or you can accept me as your father who loves you.
...she's dangerous, Lex. She... Watch your back, son.
LEX: I always do.
4x22: COMMENCEMENT
LANA: Lex, a woman is dead because of me! I killed her!
LEX: No, no. You had no choice. You did what anyone would do if their life was at stake.
ON TO PART 2
