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Alkarii wrote:Is Bryn a pot smoker, or does she give everyone the "bedroom eyes?"
Edit: Or she could be exhausted or sleepy... Forgot about that.
Well, considering what she is, she could just naturally be doe-eyed.
And, if so, that would tell us a lot about the males of her para-species. They'd be genetically pre-programmed to react to that sort of come-on, so we'd know that they're
(he pauses briefly, anticipating the horrors to come)
magnificent baaaaa-stirreds, one and all.
(Joe, I think we may need to co-sign a joint loan to pay off a certain Pun Jar)
jeffepp wrote:It's the body language. Standing that close usually reflects intimacy, or aggression. And, the faces imply the former, more than the latter.
I just thought of something else (besides the obvious Bryn is just like that and nobody who knows her acts on it as being 'overt'...) <--- actually that was an aside, what I meant to speak on was the common placing of two characters very close to each other in the Visual Mediums, whether it's print, film, graphics, etc- to accentuate the intimacy of the communication.
Its not meaning 'intimate' in the horizontal tango sense; you can do a close up of the heads/faces where they stand real close, or you can show one then the other, back and forth, to get a similar but different effect.
In this case I think it's just Pablo doing some creative framing of the active subjects...
jeffepp wrote:It's the body language. Standing that close usually reflects intimacy, or aggression. And, the faces imply the former, more than the latter.
I just thought of something else (besides the obvious Bryn is just like that and nobody who knows her acts on it as being 'overt'...) <--- actually that was an aside, what I meant to speak on was the common placing of two characters very close to each other in the Visual Mediums, whether it's print, film, graphics, etc- to accentuate the intimacy of the communication.
Its not meaning 'intimate' in the horizontal tango sense; you can do a close up of the heads/faces where they stand real close, or you can show one then the other, back and forth, to get a similar but different effect.
In this case I think it's just Pablo doing some creative framing of the active subjects...
There's a sort of counterpart of this framing exercise in "Indiana Jones and The Last Crusade". There's a scene where (in the theater version) Indy and his father are standing on either side of a table, looking at each other across it, and trading some dialog ("You mean"... "Yes"... "Then..."). You get to see their facial expressions when they're listening, as well as when they're speaking.
When the film was cut down for network TV broadcast, the 4:3 TV-screen version was edited to cut back and forth between the two characters (head and shoulders only) as they spoke. You don't get to see how one character is reacting to the other's words, until it's his turn to speak.
The two versions of this scene have a very different "feel" to them.
