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    <title>Cal Filmmaker</title>
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        <title>Two-Shot</title>
        <description>&lt;p&gt;The Two-Shot is one of the most expressive medium shots in cinema, in which two characters share the screen composition and dialogue with each other.&lt;/p&gt;

&lt;p&gt;Even in large ensemble shows like Game Of Thrones or Walking Dead, some of the most dramatic and important narrative developments happen between just two people.&lt;/p&gt;

&lt;p&gt;Inevitably, the action always ends up between a man and a woman or between a hero and a villain.&lt;/p&gt;

&lt;p&gt;The two-shot is a very powerful tool for storytelling. Despite the fact that only two characters are in the shot, there is considerable flexibility and creativity in using two-shots to complement the narrative.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/whenharrymetsally.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;When Harry Met Sally&quot; /&gt;&lt;/p&gt;

&lt;p&gt;This is what a classic two-shot looks like (taken from When Harry Met Sally). The characters are in profile to each other.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/allthepresidentsmen.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;All The Presidents Men&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Here’s another version of it from All The Presidents Men with a busier background.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/madmen.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Mad Men&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Don Draper clearly establishes dominance in this two-shot. He’s shot at a higher angle and sits in the middleground where he looks larger than Harris.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/houseofcards.png&quot; alt=&quot;Two Shot&quot; title=&quot;House Of Cards&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Here’s another example from House Of Cards. What makes Frank such a commanding character is his ability to manipulate and scheme better than those around him. &lt;/p&gt;

&lt;p&gt;As such, Frank is the dominant figure as he is positioned higher in frame. His face is at a more favorible three-quarter angle while the other guy faces away from the lens.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/houseofcards2.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;House Of Cards&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Here’s another really cool two-shot from House Of Cards. Both actors are facing away from the lens, which really complements the fact that this is a very hush-hush conversation. Even without any dialogue, you can look at the framing of this and immediately get the feeling that their relationship is very cloak-and-dagger.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/breakingbad.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Breaking Bad&quot; /&gt;&lt;/p&gt;

&lt;p&gt;This is a cool two-shot from Breaking Bad. They don’t face the lens and neither character dominates the other in terms of lighting or composition. &lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/kissmedeadly.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Kiss Me Deadly&quot; /&gt;&lt;/p&gt;

&lt;p&gt;This is one of the coolest two-shots from Kiss Me Deadly and I’ll tell you why: the two-shot is inside the mirror!&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/batmanbegins.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Batman Begins&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Can you guess who has the dominant position in this two-shot? Batman is favored and compositionally stronger because he is angled three-quarters to the lens while Detective Flass faces away from the lens.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/citizenkane.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Citizen Kane&quot; /&gt;&lt;/p&gt;

&lt;p&gt;In this version of the two-shot, one character is in the foreground while the other is in the background. This type of composition works really well if two characters have dramatic tension between each other.&lt;/p&gt;

&lt;p&gt;In this case, Kane is in the foreground, almost as if he doesn’t want to engage at all. One is trying to avoid the conversation, while the other attempts to engage.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/beforesunrise.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Before Sunrise&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Here’s a cool two-shot between Ethan Hawke and Julie Delpy in Before Sunrise. Ethan Hawke slightly dominates the scene because he has the superior angle, but both characters are lit. &lt;/p&gt;

&lt;p&gt;Their time together is limited. Jesse has to go back to America and Celine to France. They wistfully stare off into the city, contemplating the moments they’ve shared and spent together.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/minorityreport3.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Minority Report&quot; /&gt;&lt;/p&gt;

&lt;p&gt;In this version, both characters are facing the opposite direction with dramatic lighting.&lt;/p&gt;

&lt;p&gt;With Agatha’s precognitive abilities, she can see crimes before they happen. In this scene, Agatha’s vision of the future is palpable in her terrified expression. She desperately tries to save Anderton from his future crime. Despite the fact that Agatha sees the future, she is desperate to help Anderton change his destiny.&lt;/p&gt;

&lt;p&gt;She wants to pull him in the opposite direction, but Anderton’s conviction is too strong. Anderton, having found his child’s alleged killer, doesn’t care what he has to do for closure. While Agatha attempts to drag Anderton away from destiny, Anderton slowly embraces it.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/sherlock.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Sherlock&quot; /&gt;&lt;/p&gt;

&lt;p&gt;This is a version of the two-shot in Sherlock. While both characters are in profile, Sherlock expresses his dominance through posture and lighting.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/ladyeve.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;The Lady Eve&quot; /&gt;&lt;/p&gt;

&lt;p&gt;This silly two-shot from Lady Eve perfectly conveys the tone of this screwball comedy. Both characters are evenly lit since their opposite reactions to each other is what makes the audience laugh. Notice that Jean is at a dominant angle and that her profile cuts into his face, making her the dominant character in this shot.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;&lt;img src=&quot;/assets/images/two-shot/casablanca.jpg&quot; alt=&quot;Two Shot&quot; title=&quot;Casablanca&quot; /&gt;&lt;/p&gt;

&lt;p&gt;Casablanca is filled with beautiful two-shots of Rick and Ilsa. In this classic shot, both characters are in profile. While the plan was originally to run off together, Rick convinces Ilsa to leave without him- that she would regret staying with him: &lt;/p&gt;

&lt;p&gt;“Maybe not today. Maybe not tomorrow, but soon and for the rest of your life.””&lt;/p&gt;

&lt;p&gt;Notice also the slightly dominant, almost angelic-like lighting on Ilsa’s face. What’s important to the feeling of the scene is Ilsa’s reaction as Rick sacrifices his love for her long term happiness.&lt;/p&gt;

&lt;hr /&gt;

&lt;p&gt;There are so many possibilities that I haven’t gotten to. The director can employ camera movement for a dramatic shift. Perhaps the villain begins at a dominant high angle to convey his power, but as the hero’s confidence shines through and begins to stands tall, the dominance could shift the other way.&lt;/p&gt;

&lt;p&gt;Another example may be a large group shot or long shot that slowly transitions into a medium two-shot as other members of the scene start to break away. This would convey the importance of the relationship between these two characters.&lt;/p&gt;

&lt;p&gt;The two-shot does have its caveats. For example, if two people are equally well-lit in profile, then neither character can dominate the scene. This would mean that dominance would have to achieved through other means- either through dialogue or action.&lt;/p&gt;

&lt;p&gt;Older actors will have have more blemishes on their face and should thus be seldom shot in profile. Younger actors are much more clean-cut, leading to better profiles.&lt;/p&gt;

&lt;p&gt;Overall the two-shot is a wonderfully expressive medium shot that really helps tell the story. If ever there was a shot that demonstrated the ability of framing and lighting’s power in narration, the two-shot is exemplary in that regard.&lt;/p&gt;

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        <pubDate>Fri, 20 Jun 2014 00:00:00 -0700</pubDate>
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