 Welcome back to Acting Analysis for Animators and today is part 3 of Take Shelter. As you may or may not know, I love this movie and this is a great scene between the brothers of Michael Shannon and the other actor's name, I can't recall but he's in Deadwood as well. Great voice, he's so good. So this is kind of the brother came in to see what's going on to kind of help out and it's kind of a cry for help on Michael Shannon's part and I want to talk about how he does that. They're just so different in terms of behavior. One is so soft and kind of shy, introverted and the other person's a bit more manly and just kind of... And it's an interesting contrast between the two characters but instead of rambling, let's get straight into the shot. Oh, and by the way, as always, I'm going to upload this one separately because it has a lot of dialogue but it's still enough sound that's going to get me a copyright thing. So as always, this clip, just a clip with the audio will be an upload that's unlisted and the link to that one is in the description. Let's go. We just had their discussion and you have Michael Shannon here that says, hey, Kyle, this is Kyle. So he calls him and what I want you to look at is throughout the movie, he has a hard time connecting with people and holding eye contact. So he's already getting hunched over. I know he's really tall but he's also really tall there too. So he has this constant avoiding eye line says, hey, Kyle, it's even here. He looks at him just to make sure, hey, I'm talking to you, but then has to go back down. He's slightly surprised like what's going on. What are you calling me for? And you know, but still takes steps towards him. Yeah, what's going on? Just says, yeah. And then you see this here. Now love this. He still can't look at him. He has that slight tilt is kind of that puppy tilt when you're interested in something and you can just see this hand coming up and he actually looks at it. And this is kind of his way of asking for a hug for love for connection for just understanding. But that's all he can do. He brings out these other arm, but it's not like he can go up and tell him, hey, man, I need your help. I need your emotional support. And throughout the movie, that's kind of his way of doing those things. And you can see in his face, he has to look at this and it looks at him like, what's going on? And then he gets it because now he's really reaching out. I was like, all right. Okay. I get it. I get it. And then if you listen to the clip, he laughs. He not in Shannon, but he laughs. So to him, it's kind of like, hmm, really? Okay. I guess we want to hug and it's not the war embrace and, you know, you need that help. It's the slapping and again, back here to me, it's just kind of, he is sensitive. He needs emotional support and he's not that type of guy to do that. It's not that type of relationship. So as he realizes that I'm not going to get much of him and he still knows about all the storms and all that stuff that's coming. He tells him, he tells him, take care of yourself and his response. So that is, again, he laughs kind of snickers like, okay, okay, that's that little look there's like, all right. And he tells him, I will little brother. And it's this thing of, and I don't know if this is between brothers. I have older brother, but he never said that, but it's always kind of like the older brother has to tell the younger brother, okay, little boy. It's almost like he's putting him into place like, yeah, you don't have to tell me to be careful and take care of things. You're the one that's messed up and you take care of yourself. But anyway, I'm reading into that, but he tells him, take care of yourself. And he laughs, okay, I will little brother. And then he gives him the advice of take care of your family, handle your business. Right. So that's kind of his thing instead of asking, okay, what's wrong? What could you do? And he still has, you know, that pose of, yeah, he's still interested, but this is the I can't hold eye contact. He still looks down. He has that, you know, hunched over feel and it's just a totally different relationship as he realizes that, yeah, I'm not getting much out of him. That's all he can do. He goes for a handshake. And again, he doesn't look at him and look at the difference of handshakes. I'm going to play this out. Bam and bam. So you have this, okay, well, that's all I'm getting from you. And it's not like, okay, you know, it's going to be okay, whatever it is. It's this strong handshake pulling towards himself. It's just the stronger, you know, I have to say manlier type of thing, but it's just a completely different way of interacting. And even then he has to give him a little pat on his back. And if you listen to the audio right there, he doesn't exhale. And that's how it ends the shop. And to me, the contrast is that you got this guy, this tall guy who's just kind of, hey, man, please, I need your help. And, you know, I need a hug, but that's all I can do in terms of connecting. And instead of the older brother going, oh, man, what's wrong with you? And like, you know, like holding him and asking, it's more like, yeah, yeah, take care of yourself. And I love that he'll exhale. It's as if this was a lot of work. This was exhausting because he probably has never done that. I'm totally again reading into this and I'm guessing. But to me, that backstory, the way I take this and the way I would potentially use this in a shot if I had two characters and they're contrasting. I see this as, I'm not that type to discuss things, to get emotional, to ask about feelings. It's more like, yeah, handle your business, take care of your family. My truck, and I'm totally stereotypical. I know, I know, but in a painting, broad strokes, that's how I see this. And for him to actually say to carry yourself and give him a handshake, that was a lot. That was a lot in terms of, I just opened up to my brother and it was exhausting. And that's why he goes and then exit scenes and the scene is done. But I love this and I could be totally wrong, but I love this contrast of, again, Michael Shannon always being so introverted and he can't hold eye contact. And the brother going, what is this? Is this a hug? Oh, OK, all right, I'm going to hug you. Just how he plays that is so good. So if you are doing a shot with two characters and maybe only one character is talking, I would really take a look at how can I differentiate them and make the contrast really strong in terms of just body posing? One person, again, I'm not saying you should rip this off, but in this example, one person is always kind of hunched over, not really engaging too much, kind of avoiding eye contact. And even on the hug, it's more like something like this. And the other person kind of very confident walk, kind of look what he's doing. All right, I'm just getting into this. It's just a very different body language. So if you have two characters or more, I would try to find a way to give all those characters a certain history, a certain, you know, like I said in previous acting analysis and FNAs, you have your pose that's throughout the scene. So when you have your character, you don't have your default t-pose and go down. And that's how you start the shot. Think about, is my character always like him kind of like that? Or is it, you know, more confident? So think about head moves, gestures, how confident are they? Or how shy or introverted, angry or sad, whatever it is. You should think about each character and their state of mind and how you can give each character contrast so they stand out. And that's it. There's going to be more. There's more to talk about this movie. There's at least two more sequences. But that is it for now. And as always, if you have watched the whole thing till the very end, I highly appreciate it that you take your time. If you like this, give this a like. And if you would like to subscribe and get all the notifications, you know the drill. I would love a subscribe, hit that bell button and all that good stuff. But for now, that's it. Thank you again for watching and I will see you for the FNA.