Posted:
Arshad Khan, Enumerating an Auteur's Evolving 'Stamp':
*this is based on the Arnav-Khushi, AK directed scene posted by Arshi.1. Like SLB, is highly mindful of aesthetics. To recall Twila, his mise-en-scene is very 'beautiful' - full of colors and light. Is minimalist in a sense, but he never under-utilises or wastes a frame, does not clutter it either. Is very precise when 'decorating' and 'employing' mise-en-scene.
true Ivy, the scene setting was a highlight of IPK2. Is very conscious of the placement of actors in a frame. Uses long shots to achieve that. To show a scene and actors placed in full glory.3. Favors continuity editing techniques and follows CE principles. Camerawork is fluid, uses dissolves to achieve this when transitioning from one setting to another.4. Uses deep focus sparingly and for 'affect'... At 0.47 Khushi is in foreground, middleground has shiney, glittery hangings and Arnav is in background. All three are clearly defined, with middleground esp highlighted. So when Arnav and Khushi meet, the middleground is 'erased' and that acts as a signifier that some strain/tension in their equation has been removed too.ivy, you are a genius. Truly. For it was in this scene that after a month of bitter acrimony, this day they set aside everything and enjoyed their holiday5. A very formidable example of how actors 'play off' how they 'dance' and 'mirror'... AK takes this further by having his actors mirroring gestures too... Khushi cups Arnav's face and vice-versa. Even make-up - red on Arnav and Khushi's cheeks both. This is also to suggest mutual affection and consent in their relationship. In sync, on the level of soul. Subtle romance, but with an undercurrent of intensity coursing right through.
@ bold - this was the essence of Arnav and Khushi Ivy, you are a master6. Setting is as important to AK as the actors, uses establishing shots to highlight setting and to impress the vista upon viewers mind.7. Uses props to inventive ends... Not simply to beautify, signify or connote... But also to hinder and limit (blowing curtains), to brilliantly give the sense of a stolen moment being witnessed.yes! it was a stolen moment indeed, you could see that , wow8. Shifts between steady and pan-camera as per 'affective requirement'9. Lets a sequence 'breathe'... Even despite it being edited, you get the sense (courtesy of languid camera work, dissolves, continuity editing, impressive actors) that scene is being played out in real-time.
again that was the reason of Arnav Khushi craze, it seemed real!10. Uses 'shots' (long, medium, close) not for economy or practicality, but 'affect'... Is not partial to any camera technique and appears willing to 'experiment' if he can get a better result.Ergo, In an Arshad Khan direction, everything is placed, employed and executed for a reason, to word out a 'specific vision'... "Nothing is just there."
yes, yes, yes! I wish I could show you Arnav's room and the poolside, they were ideal - made to a vision, nothing is just there
Thanks Ivy, this is so exciting, a show you have never seen, yet from a few minutes you could so accurately catch these vital points!
And also makes me feel that Arshad Khans coming on board is good news😊😊
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