In the beginning of 12 Angry Men everything is shot from above eye-level with wide-angle lenses, giving everything the feel of more space, but as the film progresses it transitions to tighter shots with telephoto lenses from lower angles. The film gives the viewer more and more of a subconscious sense of tension and claustrophobia as the story progresses.
At least one stage adaptation of the story gave a similar effect over the course of the show by slowly tightening the lighting and having the walls of the set physically move inward, too slow for the audience to take notice but enough to subtly affect the entire atmosphere and really drive that feeling home.
In the beginning of 12 Angry Men everything is shot from above eye-level with wide-angle lenses, giving everything the feel of more space, but as the film progresses it transitions to tighter shots with telephoto lenses from lower angles. The film gives the viewer more and more of a subconscious sense of tension and claustrophobia as the story progresses.
At least one stage adaptation of the story gave a similar effect over the course of the show by slowly tightening the lighting and having the walls of the set physically move inward, too slow for the audience to take notice but enough to subtly affect the entire atmosphere and really drive that feeling home.
That’s so neat; I’d never noticed that before. And the walls closing in on the stage adaptation is really clever