j2annon:

saspn:

i know that you think you know things about life, but sam and dean are holding hands while walking upstairs.

OHMYGOD JENSEN YOU’RE NOT SUPPOSED TO HOLD JARED’S HAND WHEN THE CAMERAS ARE ROLLING.

mailissa-blog:

arliss:

out-in-the-open:

I think baby wins this round for the sexiest. Just look how gorgeous she looks!

I’ve been noticing something–almost subliminally for a while, but these clips just point it out. When the two of them move in the same direction, it’s like a dance, almost coordinated. Jensen moves first and Jared keys off him, such a small split-second later it almost looks instantaneous. Same foot, same angle of body, time of stride, same grasp on gun, arms up, check slide, focus forward. I’m sure it’s the product of hours and hours and hours of working together in front of the camera, ingrained to the point of instinct by now, but it’s still something lovely to see.

So I’ve been editing this stuff literally frame-by-frame for the last week or so and they’ve been amazingly in sync since season 1. They have to be doing it on purpose, because it’s *everything.* Jared will reach forward, Dean leans back. They open the car doors at the same time. They walk in sync. It’s absolutely coordinated and I think it’s a part of acting that everyone forgets about because we’re wrapped up in the emotions and the physical beauty.   

Scenes like this HAVE to be in sync, and I’ll tell you why. There’s a common photography term called the “rule of thirds” and you see it everywhere and it’s basically a rule for how to make any given shot as attractive as possible. 

Here’s the shot with the grid overlayed. 

Notice how baby’s hood lies almost directly on the lower 1/3 line and her roof is on the other one? And how Jared and Jensen have almost exactly 1/3 of the screen between them? This is not an accident. The crew spends hours doing the blocking and timing it takes to set up these shots. In this case, it’s not just a static image, the camera is panning left which means that Jared and Jensen HAVE to stay in sync or they’ll lose the composition of the shot. 

Subliminally, you just realize that everything looks nice. But when you’re explicitly looking for it you start to appreciate how talented these guys really are and how much work goes into getting a shot as simple as the two of them walking away from the car.