Sitemap - 2023 - Shot Zero: pithy posts on shot design
Blocking and Cutting for Comedy in I AM NOT OKAY WITH THIS
DIE HARD: integrating inserts in the action
How WILLOW's Camera Angles Demonstrate Kit's Character Arc
Colour as Character Emotion in ALL THAT HEAVEN ALLOWS
Subjective Passage of Time in SEX EDUCATION
EAT DRINK MAN WOMAN high low wide close
Comedy and Drama with Whip-Pans and Doors in THE BIG STEAL
Why a Split Diopter is the Best Choice for Certain MINX scenes
Dark Like Our Souls: Drinking Coffee in Noir
Visual Tension and Split Diopters in THE THING
BLANCHE FURY's Shock Effect Through Editing
Week in Review: Spooky Edition!
Perp & Victim 2: Opening Kills in Horror (2000s+)
Perp & Victim 1: Opening Kills in Horror (<2000s)
Art of the Chase: Editing for Feel Over Real in CAT PEOPLE (1942)
Cut Points and How To Direct Them
ROME, OPEN CITY - Finding Comedy Amongst Trauma
Art of the Chase: BODY DOUBLE and Cutting Without Losing Anything
THE GOOD FIGHT: Using Still Shots to Reveal (and eyelines to cut)
Character Introductions 003: Cora Smith
Anatomy of a Scene: JUSTIFIED: CITY PRIMEVAL
Character Introductions 002: Hans Gruber
The Gags of the Scene - DUNGEONS AND DRAGONS
How Different Camera Moves Hit Different Notes
Art of the Chase: BARKING DOGS and Changing Directions
Electric Dissolves in STEVEN UNIVERSE and CITIZEN KANE and MANK
Visual economy in STEVEN UNIVERSE
Character Introductions 001: Johnny Guitar
Love/Hate in DO THE RIGHT THING
LOVE/HATE Knuckles and the Weight of Homage
The Game of the Scene - GAME NIGHT
Exposition and Invisible Oners - THUNDERHEART
Exposition and Invisible Oners - MAD MAX
Selling Physical Comedy with Camera Cuts (or lack thereof)
Exposition and Invisible Oners - JAWS
Shot Size and THE BEAR Making It Personal
Time and space in staging "Oners"
Angles and Point of View in LA STRADA
PORTRAIT OF A LADY ON FIRE is a ghost story
Time as Constant Runner in THE BEAR