Dolly zoom

And I love the camera shots of, like, what is that? I forget what kind of...

The dolly zoom.

I love the dolly zooms in this, where, like, that, like, sinking gut feeling of those heights, like...

Like I don't have a fear of heights.

Like I work in high spots all the time, but like the way that they shot those, it's like, Ooh, like I wouldn't like that.

Imagine like looking down and that's what you see.

And then I love the color shifting where it looks slightly green, almost like these kind of sick colors.

don't think i picked up on that that's interesting yeah with that opening though when they're jumping on the roofs and the guy falls off it's like you know what i i can't even blame you for getting it here like that looks scary as hell because they do the thing where they they do the dolly zoom to make it look even farther away than it actually is And while they're still in that frame, that's when the guy falls.

Because what I'm imagining is your friend goes, this guy sucks.

And it's like a Hitchcock Zoom thing.

Yes, it's exactly that.

Yes,

Zoom.

Dolly Zoom.

Okay, Steven.

Steven very shyly took off one earphone and told us the Hitchcock Zolly Zoom.

Bernard Herrmann's score is maybe one of the greatest scores that has ever been composed ever.

Hitchcock even gives us the famous Dolly Zoom effect that became so associated with this movie that people now literally call it the Vertigo effect.

And then...

The movie ends like Hitchcock suddenly realized the parking meter was about to expire.

There's comic book panels.

We do a hard wipe to another side of the room where we see on a quick zoom, Dolly, Dolly zoom straight in to me, Jake Taylor, looking at the camera like, huh, I'm Jake Taylor and I play Brian Smith.

I jump over the balcony down to the dining room.

You see right below the balcony, a dude does a cartwheel through a window.

Oh, sure.

Well, the Jaws, the Jaws, like Dolly Zoom.

Yes.

Oh, yeah, yeah, of course.