This actually speaks to something I talk about all the time, which is that the single most important tool in all of cinema is just plain old shot / reverse shot. It's what gets you to bounce seamlessly between two things interacting and best feel the power of the emotion. And yet https://twitter.com/AnnapurnaPics/status/1333494174985973761 …
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Sure, these tricks sometimes get attention in award season when we falsely try to measure art or whatever. But if they worked "better," we would be using them all the time. But they don't. And the best work is often invisible.
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This to me is an extension of many directors that underestimate the value of putting the piece in the hands of your actors and overvalue photography (still important tho). But that's just a form of ego and obsesive control. It's like a game dev scared you will stray from the path
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