OFMD filmmaking analysis!
The camerawork, cinematography, and blocking during Blackbeard and Frenchie's "impossible bird" conversation at the end of 2x1.
There is so much to discover and deep dive with the scenes between Blackbeard and Frenchie.
Since the ship does not physically move this season, the production crew had to utilize other techniques to show the rocking of the ship on the ocean. From what I've observed, the primary one for on the main deck is to move the rigging and sails like the wind is blowing through them. They also move the camera in an up-and-down or side-to-side motion to simulate the oceanic waves; that is the method they use in this scene, especially since they are on the front of the ship and no rigging can be seen.
This motion of the camera in this shot is not only used to simulate the waves, but also to show the mental state of the characters. This headspace (figuratively and literally) camera framing is used throughout the season and especially on Blackbeard in the first three episodes (as talked about in my other analysis of the "this ship is poison" scene in 2x1.)
The scene starts with an overhead establishing shot tilted to the side, making the audience already feel off-center. Frenchie crawls out of the hold - showing him lower physically than Blackbeard (I talk about this same framing and camerawork between these two in 2x2 here) and stays in front of the door- leaving him room to escape. Blackbeard stands on the opposite side of the bow, with his hand on the railing.
They then cut to a two-person frame with Blackbeard large and in focus in the foreground and Frenchie small and out of focus in the background. This closeness to Blackbeard means the audience can see every micro expression, witness the dead eyes, and hear every shuttering intake of breath and shaky speech. It is intimate and the audience can sense all the pain and discomfort Blackbeard is emoting.
The camera moves up and down as Blackbeard makes the speech about a bird who never touches ground, very clearly showing that he is that bird who never wants to land. The floating camera cuts into his forehead while he speaks because just like how Blackbeard's head is breaking the frame barrier, his mental health is broken.
As Blackbeard speaks, a heavy fog starts to roll in from the sea, surrounding him. It alludes to the fogginess of his brain/emotions as well as the shrugged on public persona of Blackbeard. He is wrapping himself in this bleak cover, but his Ed self is still hidden underneath, the fog isn't thick enough around the shroud of the Kraken persona. Like the cover of the robe or blanker fort, but the fog/Kraken smokescreen doesn't offer a comfort from the harshness of the world, instead only offering the pain and self-destruction of his inner self.
The other major shot in this scene is of Frenchie. He is center framed in a clean shot; Blackbeard doesn't dirty the shot because he isn't important here, the camera is focusing on Frenchie taking in this information, revealing his emotions and mental state, and ultimately serving as the conduit of theaudience. The framing is farther away than with Blackbeard, still a medium shot but it doesn't move to allow Frenchie's head to be cut off by the frame. The camera is moving more side-to-side motions than up and down, still offering that discomfort of the situation but it suggests a different mindset than Blackbeard. Frenchie's mind isn't broken (his spirit on the other hand) he boxes up his emotions here, so he is just taking in Blackbeard's words, just like the audience is. Listening to the contradictions and trying to find out what is really being said.
The cinematography of this scene is also something worth looking at. We have the light of the ship behind Ed, something he never turns toward or seeks out. Instead, he is looking at the vast darkness in front of him, it enshrouds him and complements his mental state. The only time he looks toward the light is at the moon when he addresses Stede-symbolizing the light in the darkness.
During this entire conversation with Frenchie, Blackbeard does not turn around to talk to him. Instead, Blackbeard's broken words and grieving are spit out into the dark abyss of the ocean in front of them, the wind carrying them back to his new first mate. Ed chose to be vulnerable with Lucius (and some of the crew - though there is an argument that most of that was in a disassociate state). He cried and let all his heartbreak and despair out in front of Lucius. Only to have to get "rid" of that vulnerability by pushing him off the ship. He doesn't turn around here because he won't let anyone else see that side of him again, won't let them leave/hurt him, won't let Frenchie see the state of his distress.
The end shot surrounds Ed in the dark blue of the sky, only the moon lighting the way as the camera pans to Stede looking up into the same night sky. The symbolism of the light in the darkness for both characters, even if their words "F you, Stede Bonnet" and "Good night, Edward Teach" evoke warring emotions.
Overall, all forms of production, from cinematography, camera framing, blocking, and especially the acting (give Taika awards for this alone - I have never seen him act like this in any other role) are used to show the mental state of the characters.
Note: I purposefully use the name Blackbeard here whenever Ed is in this mental state, though "Kraken" might be more accurate.
