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When we see directors on set
what are they often doing?
"- And action."
Pointing.
Looking through the viewfinder.
Or making this hand gesture.
Why?
Because the director's job
actually begins long before this moment.
In fact, a rolling camera is the final step in designing.
Arranging.
And framing each shot.
It is the last piece in a puzzle called Mise-En Scene.
"- What do you mean?"
Mise-En Scene isn't just a fancy theoretical concept.
It is the essence of filmmaking.
And something every director does
whether they realize it or not.
This is "What Is? Mise-En Scene".
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Translated from French
Mise En Scene means placing on stage.
The theater term for the process of deciding
what to include in the scene
and where it should go on the stage.
One of the biggest champions of mise en scene
was French film critic Andre Bazin.
Bazin divided filmmaking into two basic approaches.
Mise En Scene and Montage.
Montage filmmakers
create meaning from the combination and juxtaposition
of multiple images.
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While mise en scene filmmakers
concentrate on storytelling
in a single image.
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"- If I want to, I can go to court. A father has a right to."
Consider this infamous shot from "Citizen Kane".
"- That property is as much my property as anybody's...
now that it's valuable."
The wide-angle and deep focus
allows us to see each character
and their performance.
The blocking, staging and composition
shows us who has power
and who does not.
"- I want you to stop all this nonsense.
- The bank's decision on all matters..."
And the uninterrupted take
allows us to interpret
all of these dynamics ourselves.
At our own pace without editing.
Traditional definitions of Mise En Scene
are limited to everything we can see
but sound design.
And music.
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Can also be crucial pieces to the overall mise en scene.
"- Okay, I'm confused."
This can be a tricky concept to understand.
So here's an analogy.
Mise en scene can easily be understood as a math problem.
Instead of two plus two equals four,
it's these elements equals one shot.
Each with their own part to play in the overall meaning of a shot.
Does this mean that everything we see is part of mise en scene?
Yes, everything.
So now, let's put them to practice.
There are two basic traditions in mise en scene.
Naturalistic.
And Theatrical.
With naturalistic mise en scene
the world in the film is meant to match our own.
It should be familiar and realistic.
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With theatrical mise en scene
we are presented with exaggerated worlds
unintended to be normal.
Think of Tim Burton's expressionist mise en scene.
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The exaggerated sets.
Costumes.
"- Oh my."
Or props.
These elements draw our attention
because of their uniqueness and strangeness.
But that doesn't mean a filmmaker like David Fincher's mise en scene
is any less considered or effective.
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So whether you're dealing with a grounded domestic drama.
Or a hyper-stylized fantasy film.
The mise en scene should align with those visions.
So what does it look like when it all comes together?
Let's do an exercise.
"The Shining" is bursting at the scenes with fascinating mise en scene.
If you haven't seen it,
it's about the Torrance family
who move into the empty Overlook Hotel
as caretakers for the winter.
Oh...
And it's a horror movie.
"- Here's Johnny."
And this shot is one of the most unsettling in the entire film.
We've imported this scene into StudioBinder
to see how Stanley Kubrick turned this one sentence
into one of the most unsettling shots of the entire film.
With all the elements of mise en scene in mind
pay attention to how they are used
and what they convey.
"- Mom?"
Starting with production design,
we first see props and set design
namely the toy vehicles
and the carpet.
As the camera zooms out,
the carpet is revealed with a striking and intense design.
This theme of mazes that runs throughout "The Shining"
is once again used to make Danny seem trapped
and surrounded.
The sound design and soundtrack
also bring contrast to the mise en scene.
We hear two things,
Danny's vocalization as he plays with his toys
and ominous swelling from the musical score.
How about the cinematography?
The lighting is high key and even.
Nothing menacing there.
Until you remember that this is a horror film
where we expect shadows and darkness.
Danny is shot in high angle and center framed
with deep depth of field
and a slow zoom out.
Finally, the cherry on top of this shot is the blocking.
Danny is seated innocently playing
when a new prop is introduced.
All of this adds up to making him appear
isolated and vulnerable.
Something is terribly wrong.
"- Mom?"
Someone or something
is watching Danny.
Even if you don't know what comes before or after this moment
the mise en scene in this one shot
is full of visual storytelling.
It is designed in every way to be unsettling.
So here's a challenge.
On your next project
take a single frame
and consider the entire mise en scene.
What do you see?
Think of the perfect shot for that moment.
And how each of these elements will contribute?
This can be a daunting task.
"- To begin. How to start?"
That's why preparation is so important.
Like breaking down a script into its elements.
Generating storyboards to bring them all together.
And sharing your vision with department heads.
StudioBinder is designed for this type of preparation.
Next time,
we look at the role color plays in mise en scene.
And in the work of Stanley Kubrick.
We've only scratched the surface of mise en scene.
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See you in the next one.