Roughly halfway through Nuri Bilge Ceylan's 'Once Upon a Time in Anatolia', after a long night in search of a body through remote Turkish hillsides, a weary parade of officials and the accused stop for sustenance. Tiredness and confusion has muddled the mind of the suspect over the whereabouts of the body. The search party, consisting of a police commissioner, doctor, prosecutor and driver, are all past the point of tiredness. They've all written the night off and have resigned themselves to the fact that they're unlikely to return to town with either a confession or the missing body. In the early hours of the morning, the three-car parade stop for a break in a village and gather in the darkness of the local mayor's home. All the men are physically and emotionally spent. Even in the darkness, the stresses and strains of their working and personal lives are discernable through the shadows thrown on each of their faces. Cracks are showing that may never go away. These men are at odds with themselves as the night's seemingly endless objective serves as a macabre catalyst for deep introspection over an inner struggle. They are all caught in this contemplation when the mayor's daughter - lamplit and dazzling in her youthfulness - enters the room unnoticed to serve drinks. It is a scene almost completely free of dialogue as the light from the girl's candle illuminates each of the men's faces as she moves about the room. The camera catches their reaction in turn as she serves each of them tea. One man double-takes, one triple-takes, another wakes from a light sleep and looks at her as if she were just a continuation of his dream. The girl's illuminated presence serves as a reminder to the men that truth and beauty can exist in the most ugly of circumstances, untangling their troubles by reducing them to their lowest common denominator. Her presence has the most outwardly profound effect on the murderer, convincing him to make his confession before the search is recommenced. It is an extraordinarily nuanced and expertly choreographed scene.
Tom Wiggins: What are your first impressions of Michael Fassbender/Brandon's running style? Paul Whittaker: He's running nice, smooth and relaxed. He seems like he has a good amount of fitness and he is running well within himself in terms of pace. TW: What improvements could he make to his running style? PW: The main improvement I'd make is his foot plant. He lands heel first and this causes a 'breaking' effect when travelling forwards. If he landed on his mid-foot/forefoot, this would be a much better for impact stress and propulsion going forward into the next running stride. TW: Regarding his speed, how many minutes per mile is he running? PW : I would say he is running approx 7-7.30 minutes per mile. TW: What do you make of his stride lengths? Is he overstriding/understriding? PW: The actor is definitely overstriding in this clip. It would help if his feet landed underneath and below his centre of gravit...
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