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Originally posted by tmurrie:
Joss loves his subtle creepiness, like when he had those quick shots of everyone when Mal threw Simon onto the table in the kitchen, how Zoe reached for her gun ready for anything, but Wash sat there only watching.

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I never noticed that, however I did notice how when we first get to the crew, Mal walks through the kitchen to see Kaylee and he throws his jacket onto the table, and when they are in the cargo bay leaving on the Mule, he has it again.

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Originally posted by AURaptor:

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I never noticed that, however I did notice how when we first get to the crew, Mal walks through the kitchen to see Kaylee and he throws his jacket onto the table, and when they are in the cargo bay leaving on the Mule, he has it again.

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It was quietly rumored, but not officially admitted to, until Joss fessed up on the commentary. The long sequence of Mal starting on the Bridge, talking to Jayne and Zoe, moving through the kitchen, to the engine room and Kaylee, talking to Simon as both go from upper level down the stairs to the lower level... all the way to the cargo bay is NOT a single shot. There is a break in that shot, cleverly disquised. Can you find it ? It would explain the jacket issue of Mal.

" They don't like it when you shoot at 'em. I worked that out myself. "

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Originally posted by Causal:
Also, right after the "Barn Swallow", wash says over the intercom, "We all here? What's going on?" Then it cuts to Wash all alone on the bridge saying, "Hello?" It always gets a laugh, of course, but every time I see it, it disturbs me. Wash is all alone in a very big bridge, framed to the left, not in the center or on the right, and even facing out of frame. It's actually a very poorly framed shot: wrong side of frame for the direction he's facing, lens to make the bridge look really deep, and then him really small in there. Interestingly, the framing of the "Let's get to the beacon shot" is badly framed, too: Wash all alone in a very large frame, and Jayne's arm still in the left half of the frame. Both frames just feel wrong. I think it was some very subtle foreshadowing on Joss' part.

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I wish I had a magical wish-granting plank.

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Originally posted by Jayro:
Watch Here's How It Was: The Making Of Firefly again, and you'll see what the DoP has to say about framing. Joss actively encouraged his photographers to mis-frame, jolt the camera, use unusual angles, to create a certain style. So maybe he continued this trend in the BDM.

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Originally posted by j6ngo1977:
The impaling of Wash still troubles me. I doubt Alan Tudyk wanted Wash to be killed off unless he has other commitments and can't continue with a sequel. Serenity will now need a new pilot and the whole dynamic of the crew will change. OK killing Sheperd you can get away with but killing Wash is not right, he is a key chracter. You may as well kill Zoe, Jayne or Kaylee. If Serenity was wrapping the whole Firefly saga to an end that's ok but I believe there maybe other movies. Who's gonna be the new pilot? Tom Cruise? LOL

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Originally posted by j6ngo1977:
I doubt Alan Tudyk wanted Wash to be killed off unless he has other commitments and can't continue with a sequel.

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OK killing Sheperd you can get away with but killing Wash is not right, he is a key character. You may as well kill Zoe, Jayne or Kaylee.

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Who's gonna be the new pilot? Tom Cruise?

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Originally posted by Causal:

Honestly, watch the movie a few more times. The hurt of Wash dying fades eventually and you will come to appreciate Serenity for the work of art that it is.

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Originally posted by chrisisall:
Yep. After my tenth time, I got away with just a few tears. The first watch was the hardest.
And as much as I liked it the first time, I've only liked it better with each additional viewing.
(I've even jumped from flick to deleted scene and back, effectivly adding back Inara talking to her Companion friend, and Mal and Inara talking after launching from Haven. It works well w/those scenes back in, IMHO)

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Originally posted by Jayro:

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Originally posted by AURaptor:

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I never noticed that, however I did notice how when we first get to the crew, Mal walks through the kitchen to see Kaylee and he throws his jacket onto the table, and when they are in the cargo bay leaving on the Mule, he has it again.

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It was quietly rumored, but not officially admitted to, until Joss fessed up on the commentary. The long sequence of Mal starting on the Bridge, talking to Jayne and Zoe, moving through the kitchen, to the engine room and Kaylee, talking to Simon as both go from upper level down the stairs to the lower level... all the way to the cargo bay is NOT a single shot. There is a break in that shot, cleverly disquised. Can you find it ? It would explain the jacket issue of Mal.

" They don't like it when you shoot at 'em. I worked that out myself. "

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Yeah, the transition from one take to the other was done with a digital wipe (I think that's what it's called - feel free to correct me, students of film!), where the camera 'passes' quickly across an obstruction (in this case, an adjoining wall) to meet up with the action again. If it's planned and executed well, as in this scene, it appears as a seamless camera move.

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Originally posted by j6ngo1977:
I doubt Alan Tudyk wanted Wash to be killed off unless he has other commitments and can't continue with a sequel.

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Originally posted by Causal:
every time I see it, it disturbs me. Wash is all alone in a very big bridge, framed to the left, not in the center or on the right, and even facing out of frame.
the "Let's get to the beacon shot" is badly framed, too: Wash all alone in a very large frame, and Jayne's arm still in the left half of the frame. Both frames just feel wrong. I think it was some very subtle foreshadowing on Joss' part.

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