The focus on eyes emphasises the overall desperation for secrets and trust that characterises both the FBI and the criminals. On close ups, having Jodie Foster look slightly off camera and all the other actors straight on, subtly highlights the fact that most of the film is from Clarice’s point of view and that others struggle to know her intimately. When she finally confides in Lecter and tells him about her childhood and the lambs, she looks straight into the camera for one of the first times [x]
I can hold my breath for a long, long time!
People break down into two groups. When they experience something lucky, group number one sees it as more than luck, more than coincidence. They see it as a sign, evidence, that there is someone up there, watching out for them. Group number two sees it as just pure luck. Just a happy turn of chance. I’m sure the people in group number two are looking at those fourteen lights in a very suspicious way. For them, the situation is a fifty-fifty. Could be bad, could be good. But deep down, they feel that whatever happens, they’re on their own. And that fills them with fear. Yeah, there are those people. But there’s a whole lot of people in group number one. When they see those fourteen lights, they’re looking at a miracle. And deep down, they feel that whatever’s going to happen, there will be someone there to help them. And that fills them with hope. See what you have to ask yourself is what kind of person are you? Are you the kind that sees signs, that sees miracles? Or do you believe that people just get lucky? Or, look at the question this way: Is it possible that there are no coincidences?
What’s blood for, if not for shedding? - Candyman (1992)