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DIRECTOR: Tony Barbieri
STARRING: Jason Cairns, Kane Picoy, Paul Herman, Autumn Macintosh
DISTRIBUTOR: Three Ring Circus/The Shooting Gallery
TECH SPECS: Super-16, 1.85:1, Kodak (7293, 7245, 7279), Aaton LTR
Charlie (Jason Cairns) is taken out for a good time on the town by Nick (Kane Picoy). Geometric framing was the order of the day--every day--on this project. Irving and director Tony Barbieri were intent on demonstrating the lack of connection between characters by using lines and shapes within the frame to separate them. Here, the line of the convertible’s windshield and the fact that both men are looking off different sides of the frame indicate the gulf that has grown between two old friends.
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Sarah (Autumn Macintosh) and Charlie (Jason Cairns) check out Charlie’s new apartment. The rigid geometry that has previously separated the characters begins to break down as they start to get better acquainted. In this case, Charlie joins Sarah in her visual space.
Sarah (Autumn Macintosh) and Charlie (Jason Cairns) enjoy their first kiss. To eliminate the complex geometry that has separated each of the characters up until this point, Irving and director Tony Barbieri employ a four-minute rack-focus during this shot. It starts with Sarah and Charlie in sharp focus, but slowly shifts them out of focus as they make the transition from friends to lovers. Once this happens, there is no more geometry dividing them at all; they are visually blended together as one.
Nick (Kane Picoy) runs to help as the past catches up with Charlie (Jason Cairns). As is the case with every urban night exterior that Irving shoots, he was determined not to use any of the “blue moonlight” that is typical of Hollywood productions.
