Harry Winer is an American TV drama director, known for Veronica Mars (2004-2007), Summerland (2004-2005), Felicity (2000-2002), Dawson's Creek (2001), Goodnight, Beantown (1983-1984), and Hart to Hart (1983-1984). He has also directed single episodes of shows such as The Duck Factory (1984), Paper Dolls (1984), Time of Your Life (1999), and Windfall (2006). He now works as the president of SMASH media.
His directing style aims to include the audience in the fictional world by placing them in the position of an invisible observer. Therefore, the way he moves the camera is driven by the action, with a lot of focus placed on the characters and their emotions. I did, however, find some of techniques he uses similar to those used by Steven Spielberg, but used in a less detailed, and therefore more televisual way to Spielberg's more stylised, cinematic manner.
The main reason I decided to research Harry Winer for this project was because of how he has directed many genres of TV drama, and I wanted to see if his style had remained somewhat constant whilst handling the very different types of narrative. I also like how he always places the audience inside the fictional world so that they are immersed in it, as I think this can make the shows more believable. His focus on the characters in the narrative is similar to the directing style of Once Upon A Time, but as it is very traditionally televisual it will be interesting to see how it combines with Sofia Coppola's documentary-like style, and Steven Spielberg's cinematic style.
Before this project, I had only seen his work on Veronica Mars, so it was entertaining to see how he had directed other TV shows I had not seen in comparison.
Panning and tilting to reveal:
Summerland (2004), Time of Your Life (1999), Windfall (2006), and Hart to Hart (1984)
The most common technique used by Harry Winer is to pan or tilt from an object or person to reveal something else in the space, changing the pace of the scene or allowing him to pick up other characters without cutting.
For example, in the clip from Summerland the girl's close-up becomes the woman's as she exits, allowing the camera to pick up the woman's reaction before tracking her as she also exits in the other direction. This works similarly in the first clip from Time of Your Life. By doing this it is not only more economical, but also can slow the scene down as the audience focus on the current characters in the shot, before speeding up again to find the next characters.
This is also shown in the clips from Windfall, but shows that what this technique also allows is to place the audience in the location. For example, in the first clip the audience pan from the fair ride to the little girl, and then down through the fair to find her parents, which confirms the location to the audience and lets them know exactly where the scene is set.
Moving master shots:
Windfall (2006), Summerland (2004), and Hart to Hart (1984)
This is shown in the clip from Windfall, as the frame moves out when the woman walks across the kitchen to fit her husband in the frame as they have a conversation, similar to the men in Summerland when the frame moves with them as they walk.
The first clip from Hart to Hart with the long master shot shows this most explicitly as the characters both end up moving in opposite directions. Therefore, the camera must first track with them into the room, before panning one way to fit him into the frame as he moves backwards, then the other way to fit her into the frame as she moves forward. This helps to focus the audience on each separate action, and also allows the action to fill up the whole shot.
Shared close-ups:
Top: Summerland (2004-2005), Middle: Hart to Hart (1983-1984), Bottom: Felicity (2000-2002)
How characters share each other's close-ups can also give the audience information about their relationship, even if the status of it is already well-known to the audience as it can alert them to changes.
For example, in Summerland, these characters are framed close to each other, with each of them taking up quite a lot of room in the other's close-up. Therefore, as is known to the audience, it can clearly be seen how close they are with each other, as they seem comfortable around each other.
This is different in Hart to Hart as the characters are positioned far apart, only just about being visible in each other's close-ups. This shows they don't really know each other, and are only working together on a play.
However, in Felicity, the space between the characters changes during the close-up as they argue. At first, they appear close which mirrors their relationship as they are dating, but he moves away as the argument worsens, showing how the conflict could tear them apart.
Point of view:
Top: Hart to Hart (1983-1984), Second row: Time of Your Life (1999), Third row: Felicity (2000-2002), Bottom: Paper Dolls (1984)
Harry Winer also uses point of view shots to place the viewers in the character's positions, allowing them to identify with them, and think about what they may be thinking and/or feeling in these moments.
For example, in Hart to Hart, the audience see the shot of the character drinking first facing the character who gave the drink to him. The reverse-shot then shows his point of view, with the frame blurring. This allows the audience to understand that the character has been poisoned, and turns the narrative into a question of how the detectives will catch who did it, as the blurred point of view shot places the audience directly in front of the murderer since they are made to identify with the character being poisoned.
This works similarly in Felicity as the audience see Ben walk down the hallway and then see what is through the door ahead in his point of view. Their attention is therefore directed to think about what he is thinking and feeling in this moment as it is revealed to be a support group through the doorway. By placing the audience in his position in this moment, they are encouraged to think about what he has been through which has led to this, strengthening their identification with him as they are inside of what is a vulnerable moment for him.
Characters facing camera:
Top left: The Duck Factory (1984), Top right: Hart to Hart (1984), Middle left: Time of Your Life (1999), Middle right: Veronica Mars (2004-2007), Bottom: Summerland (2004-2005)
The audience are also placed with the characters by Harry Winer as he frequently places the characters facing the audience. This creates the illusion of the audience being part of a group with the characters.
For example, in Summerland the audience are inside of the window the rocket smashes through, looking through it to see the group of characters outside. Although there is this separation, it is as if the audience are in the character's world and are similarly shocked by the destruction the rocket has caused.
I found that this technique was similar to the placing in the middle of the action from the drama Vanished by the Lake, as it makes the audience feel as if they are part of the fictional world, and therefore strengthens their identification to the audience through the events which occur.
The audience are also placed with the characters by Harry Winer as he frequently places the characters facing the audience. This creates the illusion of the audience being part of a group with the characters.
For example, in Summerland the audience are inside of the window the rocket smashes through, looking through it to see the group of characters outside. Although there is this separation, it is as if the audience are in the character's world and are similarly shocked by the destruction the rocket has caused.
I found that this technique was similar to the placing in the middle of the action from the drama Vanished by the Lake, as it makes the audience feel as if they are part of the fictional world, and therefore strengthens their identification to the audience through the events which occur.
Reflection shots:
Top: Paper Dolls (1984), Bottom left: Summerland (2004-2005), Bottom right: Veronica Mars (2004-2007)
Double reflection shots are also used to do this, as the characters normally up end facing the audience. Much like Steven Spielberg's use of mirrors, this allows Harry Winer to combine several angles in one frame and reduce cutting, allowing the audience to become more immersed in the scene.
Zoom into reactions:
Top left: Veronica Mars (2004-2007), Top right: Summerland (2004-2005), Middle left: Windfall (2006), Middle right: Paper Dolls (1984), Bottom left: The Duck Factory (1984), Bottom right: Goodnight, Beantown (1983-1984)
Similar to Steven Spielberg, Harry Winer frequently zooms in on characters to capture their reactions. This normally occurs towards the end of episodes during moments of heightened emotion or as the characters contemplate events which have happened.
For example, in Veronica Mars this is usually used when Veronica realises something. In the scene from above, Veronica's expression is zoomed into after talking to another girl makes her realise she should not use her private detective skills to find out whether or not her boyfriend is lying about a crime his friend has potentially committed, as this will only mean he will push her away even more. Therefore, in this moment Veronica's feelings are heightened as she is seen by the audience to think about the consequences her actions will have because of her realisation.
In Windfall, the character of Nina's expression is zoomed into as she calls the police when her daughter runs away. This highlights her shock to the audience as by zooming in the pace of the scene is sped up.
The opposite is true in Paper Dolls as by zooming into Blair's expression the scene is slowed down as her desperation and exhaustion after exercising too much in order to lose weight is emphasised.
As this technique is able to slow down and speed up the pace of the scene, the movement allows the audience to feel the character's emotions as they are emphasised, causing them to think about what they would do in a similar situation, and how the consequences this situation, and their actions due to it, will impact the character's lives in the long run.
For example, in Veronica Mars this is usually used when Veronica realises something. In the scene from above, Veronica's expression is zoomed into after talking to another girl makes her realise she should not use her private detective skills to find out whether or not her boyfriend is lying about a crime his friend has potentially committed, as this will only mean he will push her away even more. Therefore, in this moment Veronica's feelings are heightened as she is seen by the audience to think about the consequences her actions will have because of her realisation.
In Windfall, the character of Nina's expression is zoomed into as she calls the police when her daughter runs away. This highlights her shock to the audience as by zooming in the pace of the scene is sped up.
The opposite is true in Paper Dolls as by zooming into Blair's expression the scene is slowed down as her desperation and exhaustion after exercising too much in order to lose weight is emphasised.
As this technique is able to slow down and speed up the pace of the scene, the movement allows the audience to feel the character's emotions as they are emphasised, causing them to think about what they would do in a similar situation, and how the consequences this situation, and their actions due to it, will impact the character's lives in the long run.
Coloured light:
Top: Veronica Mars (2004-2007), Middle left: Paper Dolls (1984), Middle right and bottom left: Time of Your Life (1999), Bottom right: The Duck Factory (1984)
Compared to TV drama's normal use of soft yellow and white lighting which is created to look natural, Harry Winer's use of coloured lighting which is normally neon, or in shades of red, is more unconventional. However, it is not as startling as it could be as the light sources are always visible such as the fairy lights and neon lights in The Time of Your Life. The source is sometimes not apparent straight away, such as the light in The Duck Factory coming from a TV which is revealed later in the scene.
Although this technique is different from some other TV dramas, it is not uncommon, and only further allows Harry Winer to place the audience inside the fictional world of the show.
Compared to TV drama's normal use of soft yellow and white lighting which is created to look natural, Harry Winer's use of coloured lighting which is normally neon, or in shades of red, is more unconventional. However, it is not as startling as it could be as the light sources are always visible such as the fairy lights and neon lights in The Time of Your Life. The source is sometimes not apparent straight away, such as the light in The Duck Factory coming from a TV which is revealed later in the scene.
Although this technique is different from some other TV dramas, it is not uncommon, and only further allows Harry Winer to place the audience inside the fictional world of the show.
'Dutch angle':
Veronica Mars (2004-2007)
Even though Harry Winer does not use this in his other work, he uses the technique of Dutch angles in episodes of Veronica Mars to confuse and startle the audience. Using a Dutch angle derives from German expressionist cinema where Dutch refers to the German word for German, 'Deutsch'.
What I find most interesting about this technique is how sometimes it is unnoticeable but makes the audience feel unbalanced and on edge, which is why it is used most frequently during interrogation scenes or when the characters come to realisations about cases they are trying to solve. It places the audience in the fictional world with the characters, as when the characters begin to find their world becoming unbalanced because of a revelation, the audience also share this through the angle the camera is tilted at.
Overall, Harry Winer's directing style places the audience in the fictional world with the characters, encouraging them to identify with them and therefore making the shows more believable. This is achieved through a focus on emotion and action as the camera moves to capture important points in the narrative the audience should be aware of.
In this sequence from the opening of an episode of Veronica Mars, the camera pans through the crowd to find Veronica, letting the audience know the scene is set in a school, and that Veronica is the main character so is therefore the focus. The camera then zooms into her reaction to something in the corridor which is revealed as it pans around her, showing the other characters with her in a shared close-up. This emphasises the distance between them, and Veronica's loneliness as she sees her old friends from far away. Up to this point, these shots are all combined into the master shot moving to accommodate the action, immersing the audience in the world of the show. The audience are led to identify with her through the point of view shots at the end of the sequence, as she is seen looking at the other characters, and then the audience see them through her point of view, encouraged to consider what they would do as they are placed in her position.
This is similar to Sofia Coppola's style and the way she places the audience with the character of Charlotte in Lost in Translation as the scene is shot like a travel documentary, making the audience feel like a tourist in the city, just like Charlotte, sharing in her isolation.
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