In black-and-white, the garage door opens and Fiona Apple stands by it. The camera focuses on parts of her face. Her coat around her shoulders, she begins to sing by the fence. She leans into the camera and walks back into the garage. She touches the screen, smudging it.
Switching to color, she stands in her multi-colored shower and poses as though she’s taking a mugshot.
She stands on the subway platform, the train’s light shining in the distance as it approaches. The angle slides each time, pulling in closer.
On the train, she puts her hands on the poles as she walks along and puts her hand over the camera, covering it.
She wipes a window with a cloth, her face blurred. It changes to the shape of a microwave.
A black smudge is over her face, which she wipes off with her hand as she sits on a bench. She puts a lit match in her mouth, sucks on it like a lollipop and takes it out.
As she sits on the bench, the camera operator adjusts the camera. Apple bobs her head, as the camera is sped up. It fades into a circle, closing in on her eyes, face and mouth.
The interactive camera follows Fiona Apple around, breaking the fourth wall. She mugs for the camera, pretending she’s standing in line, waiting to see if the victim recongnizes her as a criminal. She waits for the operator to adjust the tripod to continue.
When the camera is used for functional purposes, such as a screen, it becomes an object, placing the viewer in the center of the action. While she’s cleaning, it could double as a window or a kitchen appliance. It’s as though the viewer is actually inside or peering from the screen.
Director: Paul Thomas Anderson Year: 1999
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