Na TV, comédia pode ser filmada de algumas maneiras. As duas mais comuns são os chamados setup de multiplas câmeras (multi-cam setup) e o setup de câmera única (single cam setup). Você provavelmente já viu séries que usam cada uma dessas abordagens, e provavelmente sabe dizer qual é qual instintivamente: as chamadas “sitcom” são geralmente gravadas com várias câmeras em frente à uma platéia. É o caso de Friends e The Big Bang Theory, por exemplo. Já comédias como Fleabag e Ted Lasso são gravadas com uma câmera só, de uma forma mais parecida com um filme.
Nesse texto para o AV Club, Saloni Gajjar comenta como a montagem de Ted Lasso traduz bem a sensação de colaboração do futebol, e das amizades, e como ele cria uma série tão boa de sentir com isso:
Look no further than the first meeting between Ted, Coach Beard, and kit-man Nathan (Nick Mohammed) in the pilot. When Ted and his fellow coach ask the latter for his name, he’s surprised; no one ever asks. Instead of immediately giving an answer, there’s a pause as the camera cuts back and forth between their faces, setting the comedic tone and letting Nathan’s confusion linger (and Mohammed’s performance shine). The joke continues when Ted and Coach Beard see Nathan again and remember his name, and the scene cuts to another look of happy surprise on the kit-man’s face. The Ted Lasso editors build on a similar momentum for every character and running gag. One of the show’s biggest secondary arcs is Roy and Keeley’s romance, and the editors prime us to root for them early on by focusing on their longing gazes, flirtatious parking lot conversations, and when Roy finally asks Keeley out in episode eight (“The Diamond Dogs”).
McCoy and Catoline’s intercuts from the field, to the coaches, to the viewers in the stands and those watching the game at home present the matches in an appealing way to fans as well as viewers not particularly interested in soccer. In the establishing shot of the premiere with the AFC Richmond team practicing on the field, the duo combines close-ups of legs and passes with slow-motion scenes and pans out to catch all the gameplay. These jump-cuts, especially in the finale, generate the necessary energy for high-stakes storytelling. This is true of non-game scenes as well. Two of the show’s most memorable moments—the team celebrating its win by going to a karaoke club in “Make Rebecca Great Again,” and Ted’s game of darts with Rebecca’s ex-husband, Rupert (Anthony Head), in “The Diamond Dogs”—speak to McCoy and Catoline’s remarkable ability to follow the script’s character developments and the actors’ work with their cuts.
Ai, ai. Ted Lasso é muito boa. A nova temporada estreia no mês que vem, e eu mal posso esperar.