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Meg Shields

Based in the Pacific North West, Meg enjoys long scrambles on cliff faces and cozying up with a good piece of 1960s eurotrash. As a senior contributor at FSR, Meg's objective is to spread the good word about the best of sleaze, genre, and practical effects.
Pulp Fiction Quentin Tarantino Car Scenes

How Quentin Tarantino Shoots a Car Scene

By Meg Shields 

Buckle up. Here’s a video essay on a type of scene that’s easily taken for granted.

The Matrix Slow Motion

How the Special Effect of Slow Motion Works

By Meg Shields 

Here’s a breakdown of how slow motion went from a technological hurdle to an aesthetic choice.
In The Mood For Love World of Wong Kar Wai

How Camera Lenses Affect How We Identify with Characters

By Meg Shields 

Here’s a video essay that looks at the suggestive, subtle psychological qualities of camera lenses.
First Cow

Patience and Perspective: The Gentle Editing of ‘First Cow’

By Meg Shields 

Here’s a video essay that breaks down why the genre-defying softness of ‘First Cow’ permeates its edit.
Mad Max Movie Two Colors

Why Most Movies are Shot with Two Dominant Colors

By Meg Shields 

Remember the orange and teal plague of the 2010s? Good times.
First Reformed darkness

The Decade-Defining Darkness of ‘First Reformed’

By Meg Shields 

Here’s a video essay on why the pride and despair of Paul Schrader’s film defines the latent darkness of the 2010s.
Austin Powers

Every James Bond Reference in the ‘Austin Powers’ Movies

By Meg Shields, and Anna Swanson 

Baby. Yeah, Baby.
Days Of Heaven Locust Swarm

How They Shot the Locust Scene in ‘Days of Heaven’

By Meg Shields 

Everything in ‘Days of Heaven’ was accomplished in-camera. And yes that includes the locusts.
Lord of the Rings Sound Design

The Sound Design of ‘The Lord of the Rings’

By Meg Shields 

Turns out understanding how they designed the screams of the Nazgûl only makes them creepier.