Spies (Freeze) Like Us - Response to Research

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In 'Death 24X A Second' Mulvey refers to the 'decisive moment' where "...a photographer's eye and a fleeting second of movement are brought together..." Walter Murch also talks about the 'decisive moment' in his book 'In the Blink of an Eye' (indeed it is one of the chapter titles). In it he notes his practise of extracting a single, representative frame from every camera setup, creating a version of the film in still frames. I wanted to explore these 'decisive moments' but keep the soundtrack intact and as I happen to have a 35mm cell from 'Spies Like Us' blu-tacked to my computer monitor it seemed like the obvious choice. I tried to choose frames which were 'representative' but also looked for that 'fleeting second of movement'. And I was curious to see how these frozen frames would work with the unfolding soundtrack, where the stills would seem to linger beyond the natural cuts, or perhaps prove too fleeting. And what might the new relationship between still image and linear soundtrack say about the scene. Part research, part what appears to have become an exploration of eyebrow acting.

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