1. Spaced
“Spaced” is a sitcom directed by Edgar Wright for Channel 4 in the late-1990s to early-2000s. Starring eventual
film stars Simon Pegg and Nick Frost among others, it focuses on the daily lives of two friends (often mistaken for
a married couple) with humorous scenarios intertwined, offering an early showcase of Edgar Wright’s directorial
and editorial ability.

2. Battles (s1e4)- Camerawork
• Edgar Wright’s late-‘90s Channel 4 sitcom makes use of a variety of camera shots, using both standard and
imaginative shots for an engaging viewing experience.
• Whenever two people are talking in the show, the 180 degree line is often used. This creates the sensation
of being in the conversation. This links effectively into point-of-view shots. As the name suggests this
means a shot from the perspective of a character. In the show, it allows viewers to experience the
thoughts and feelings of characters.
• The types of shot used in this show are also carefully considered. Long shots tend to be used as establishing
shots and, sometimes, travelling shots. Medium shots for conversations, close-up shots to show emotion
in a character, and extreme-close ups for intensity and very clear emotions. Camera motion is also
considered, such as zooms and pans. Pans are normally used just for travelling objects or characters.
Zooms are often used for dramatic effect, such as a sudden snap from a character to increase the impact.
Focusing the camera is also used to change whoever or whatever is the focus of the project.
• In this episode in particular, there is a presence of tilts and low-angle shots. This normally occurs whenever
something awkward or uncomfortable occurs, such as insanity or discrimination, and the shots are used
either separately or together to give the viewer a sense of discomfort and uneasiness. In contrast, high
angle shots show vulnerability as opposed to trying to create it. Such a sensation is also created with the
dolly zoom, which zooms the background faster than the subject to create a sensation of vertigo or just
for intensity.

3. Battles (s1e4)- Editing
• Edgar Wright’s signature editing style was first showcased in Spaced, which includes his tendency
for ellipsis and jump-cuts. This is showcased prominently in the show, especially during
cutaways that show a character’s inner thoughts. Using jump-cuts and ellipsis creates both
excitement and humour out of serious scenarios. Cross cutting is regularly used to show
different characters individually during the same scene. The cutaways are also used to show
flashbacks to a character’s past, such as the source of Tim’s fear of dogs. Fast cuts are also used
whenever something exciting is occurring, so they increase the tension of an already exciting
scene.
• Transitions are also carefully considered. Dissolves are mostly used to transition between two
scenes in a relaxing manner, especially when compared to the conventional cut. There is also
the presence of match cuts, where the same scene is used twice in the same shot, but there
are some differences to indicate a passage of time. This often appears in Edgar Wright’s later
films.
• This episode also contains several elements of intertextuality. In the paintball scene, there are
several references to war films, such as ‘Saving Private Ryan’. The overly dramatic acting and
dynamic filming style is designed to pay homage to this film genre, right down to dolly zooms
for “death scenes”. This also allows for cuts on action, such as the impacts of paintballs on the
people involved.

4. Gone (s2e5)- Plotting
• This episode uses the A/B plotting method. This involves having a main story intercut
with a smaller side story relating to the main story. In this case, the “A” plot was Tim
and Daisy going for a night out and getting cornered by a gang, and the “B” plot
involves Mike looking after their dog, but then losing it. This became convenient to Tim
and Daisy when they returned without their keys.
• The episode contains foreshadowing. With the dog running off, it became convenient for
Tim and Kelly who dropped their keys on a flatbed truck, which set off. There is also
misdirection. The episode starts with Tim and Daisy meeting the gang and it appears
they both are about to shoot at the gang. When the scene was revisited, it is revealed
they are only fighting with finger-guns, adding comedic value to the serious situation.
• As a result of the introduction, the episode follows a non-linear narrative. It proves to be
an effective way of telling a story in this situation, as the introduction raises questions,
but does not give away the resolution of the issue. There is also some foregrounding
for the next episode, as a character’s birthday is mentioned, which is the focus of said
episode.

5. Gone (s2e5)- Intertextuality
• When Tim and Daisy discuss what they plan to do for the evening, there is an ellipsis for each of
them that showcases their personalities and the tone of their plans. Daisy’s plan are shown
through a series of photographs, which gives a slightly formal tone. Tim’s plan is presented a
pencil-sketch comic with surreal imagery to give the sense of tripping and losing their minds, as
well as giving a very informal tone to his plan, especially when in contrast with Daisy’s.
• As this episode appeared quite late in the show’s runtime, there are several call-backs to
previous episodes. Most notably, Mike is wearing an army uniform as a call-back to his time
paintballing in the 1st season’s 4th episode. Tim and Daisy also meet a character that had been
previously only mentioned, who inspires jealousy in Tim for constantly having feelings towards
Daisy. This also sets the tone perfectly for a flashback involving him and Tim at paintballing.
• When Tim and Daisy confront a gang and partake in a finger-gun shoot-up, the fast cuts and
editing are very similar to action and crime thrillers, likely as the scene is poking fun at this film
genre. There are also gunshot noises complimenting the “shootings” to clearly show what is
going on.
• A scenario also foregrounds an event for the next episode, that being a character’s birthday. This
also allows for a transition between the events, showing that each episode leads into one
another. The planning scene is also called back to in a scene from Edgar Wright’s later feature
film “Shaun of the Dead”, which was released 3 years after “Spaced” wrapped.

6. Gone (s2e5)- Intertextuality
• When Tim and Daisy discuss what they plan to do for the evening, there is an ellipsis for each of
them that showcases their personalities and the tone of their plans. Daisy’s plan are shown
through a series of photographs, which gives a slightly formal tone. Tim’s plan is presented a
pencil-sketch comic with surreal imagery to give the sense of tripping and losing their minds, as
well as giving a very informal tone to his plan, especially when in contrast with Daisy’s.
• As this episode appeared quite late in the show’s runtime, there are several call-backs to
previous episodes. Most notably, Mike is wearing an army uniform as a call-back to his time
paintballing in the 1st season’s 4th episode. Tim and Daisy also meet a character that had been
previously only mentioned, who inspires jealousy in Tim for constantly having feelings towards
Daisy. This also sets the tone perfectly for a flashback involving him and Tim at paintballing.
• When Tim and Daisy confront a gang and partake in a finger-gun shoot-up, the fast cuts and
editing are very similar to action and crime thrillers, likely as the scene is poking fun at this film
genre. There are also gunshot noises complimenting the “shootings” to clearly show what is
going on.
• A scenario also foregrounds an event for the next episode, that being a character’s birthday. This
also allows for a transition between the events, showing that each episode leads into one
another. The planning scene is also called back to in a scene from Edgar Wright’s later feature
film “Shaun of the Dead”, which was released 3 years after “Spaced” wrapped.