The Grandmother - DAVID LYNCH - CINEMATOGRAPHY

CINEMATOGRAPHY

• Filming as though the cartoons are real life; tilting up/down, tracking in/back. To show how these cartoons are vital to the story.
• Panning
• Shaky camera to see his conflicting emotions. Which is repeated towards the end. 
• Tracking with and tracking into the pain of the boy when getting abused. 
• Multiple over the shoulder shots for different characters for different perspectives on their situation.
• Close up on each character multiple times so we get involved with the story and their emotions.
• Panning across the room representing the boy looking for more immersion. 
• Close up on the boy smiling at the seed of his 'grandmother'. This sees his full happiness in contrast to his pain when he was abused. 
• Zooms in on their physical appearance to show every part of their emotion. 
• Trying to open up a good part in his life and there is a close up to his hands digging at the soil to let his 'grandmother' in his life. 
• Panning shot from the boy then onto the 'grandmother' to show the connection he feels towards her.
• Same sequence of camera angles and shots to show daily routine and what happens to him. Only slightly changed to show that it is a different day.
• Close up of boy taking grandmother out of the cocoon and tilts up to legs of grandmother.
• Multiple close-ups of the boy and grandmother looking at each other in glee, gives spectator a happy feeling of warmth to see how the boy is happy to see his 'creation'. 
• Multiple close up's to the dad and mum's mouths to see anger in their movements. This gives us sorrow for the child as he is being treated with this harshness.
• Close-up to the boy in his pyjamas, makes it look and feel like he's in a prison. 
• Hardly ever experiments with different camera angles: mainly close ups which show that the director want the spectator to be fully involved with the story and emotions. 
• Medium/long shots towards the end to show how the boy and the grandmother have distance now as she is dead.