That's a gun, jeschica.
We don't the really annoys cause.
I'm gon na use action.
Bong joon-ho is a filmmaker obsessed with rhythm.
You can sense it in all of his films, but in his latest parasite he outdoes himself.
The tempo is perfectly calibrated as a viewer.
It almost feels like you're surfing the story, the way the editing and camerawork sound design and music carries you from moment to moment. 00:00:35
I think bong knows that getting the pacing exactly right is the only way he can get.
His bold tonal shifts to work.
The result of such attention to rhythm is a totally immersive viewing experience.
The cadence of the whole movie is tightly controlled, but there's a montage about 40 minutes in that distills his mastery into a perfect diamond of a sequence, 60 shots almost exactly five minutes.
Definitely my favorite five minutes of the year and I think it's worth taking a closer look at because it's really a thing of beauty. 00:01:07
First, the setup, the montage comes at the end of Act, one of parasite after a poor family have almost successfully duped a rich family into hiring them all for service jobs.
The son becomes a tutor, the daughter becomes an art teacher, the father, a driver and other attempting to bring the mother in as a housekeeper problem is that the existing housekeeper is well established and well liked by the rich family.
So the poor family hatches a plan to remove her from the picture.
It's a great idea to enact this plan in montage, because we've already seen three successful cons at this point. 00:01:42
The tempo slowly building in each with a montage, the cutting will get even faster and bong, can bring the entire act to a crescendo.
Also, as the poor family's plans get more sophisticated, it's only right that the filmmaking does as well a montage like this is going to test your ability to convey a lot of information across a limited number of shots in this case 60.
Let's take a look at the first few hanging on from guru run, their opinion is Honiton grania, Waterton, Salman.
Even Sarah, a twisted Shiva cuckoo cribs havin do Tom trophic receiver.
Such a door doesn't go too crazy.
Well, the Kogi's held on crew could to work a contra cut under something crazy kangaroo, hot lava could carry yours.
A tiny car would cause a huge bang engines in his element, saw cars, Christian, wear, boxers and couvent a easy call.
It Sumatra, Naja Monica City on criminals, chief juniper gun and a car don't belong back in case.
Come on Tony tell him to cool on the cloud Quran desert.
Juanita man hold it up on watch from Atlanta, but you carry he sad thing.
The first thing I notice is how balletic everything is helped along by a classical piece from Handel's rohtul into opera.
The pacing is mesmeric.
Bong achieves this by selectively, using both slow motion and linear camera moves. 00:03:07
Every shot offers a piece of information several foreshadow later moments.
In the montage and this referencing back and forth, as well as the camera moves and the music all contribute to making the sequence into an organism all its own h1, a montage is a sequence that manipulates time.
Look how many shots it takes to get from idea to execution.
Chronica talent is hidden by mm cosmo.
Swallows you a little caramel cremeux good hotel.
In Detroit honor Kotori token channel adore movie same package, go Hokulani trans here to sing that liquor and a name bond gets from the moment the Sun hears about the housekeeper's allergy.
To the moment he poisons her in eight economical shots. 00:04:09
That's conciseness worthy of Hitchcock, who bung actually snuck into this montage a few shots back.
The poor father is deceiving the rich mother, so bond shows him literally taking her for a ride.
He sets the pace and she follows him, but there's actually another level of control.
Here, because the words he says were written by his son, who designed this duplicitous little play to get in there .
Do you Iike? Oh, I was its young conjoin, Oh mom, you're, even in the Akutan, the Ayakashi from naraku's hell.
At this point.
It's probably a good idea to bring up bongs editor Jin mo yang, who obviously had a major role in shaping this sequence and the whole film.
Now bong does a lot of the editing himself by extensively storyboarding, but any editor will tell you that the rhythm of a scene comes down to my new adjustments and sometimes you have to get creative. 00:05:14
If you look at this shot, for example, frame by frame, you can see something strange right here in the middle of this pan yang stitched together two different shots, because neither individually has the perfect pacing from both actors.
So he Frankenstein's it to get the right tempo.
Cody Johnson, correct Pancham, bada Tahoe, so not waking back hanging down there.
I mean, when I say, I'm using to quantify cell yang also had a big part in finessing this section of the montage, which originally had much more repetition of the lines yang intercut the locations to give the tempo more bounce and, as a result, it feels like A single conversation which actually reinforces the conversation, this montage is already having with itself a conversation that is about to pay off .
This montage is a testament to bong Joon hos control of his craft, but it's also about control.
It comes at the moment in the story when the poor family's cunning, their ability to control things has reached its pinnacle.
Their plan was as perfect as the sequence and it went off just as smoothly, but as we and the family quickly discover even the most airtight plans are vulnerable to events. 00:06:51
Success often contains the seeds of a later downfall, especially when it was achieved by means of cruelty in act 2. 00:06:59
The bottom falls out narrative Li and literally, and this montage is cast in a new light.
The plan was not as perfect as it seemed, which of course makes the montage even more so, hey everybody happy holidays, Happy New Year, happy decade.
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Thanks again guys.
I will see you in the next decade.