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okay so we're going to go through that

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version of The Blocking uh again and

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every once in a while we're going to

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stop I'll walk in and explain the

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reasoning for that staging and talk

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through some of the other possibilities

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that we might have been able to consider

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and then we'll Carry On from there and

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action what Revolution David you just

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let Richard Nixon claim the country was

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in a state of Revolution with

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protesters with protesters uh bombing

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and assaulting police officers that's

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not what I remember what I remember was

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people protesting peacefully and

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legitimately about the Vietnam War

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that's what I Remember music off plays

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music off by the end okay great so this

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is a position that the actors first and

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foremost and very importantly fell into

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very very naturally it it also lent it

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self to a good wide shot an establishing

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shot uh that we could that we could do

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to establish the room particularly the

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moment when he chases out the uh

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imaginary uh actor who would one day be

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there playing playing the radio it also

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creates some space and it gives an

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opportunity for a shot here that we did

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uh where you have David in the

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foreground and you see that he's he's

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trying to ignore the pressure that's

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being put on him by everybody

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uh and uh and it also gives a kind of a

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a space as though he's he's surrounded

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by three individuals who have a you know

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a strong point of view or upset with him

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so it it it spatially uh you know I felt

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it created different lines that we could

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also work with over the shoulder here I

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remember we did and over the shoulder

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here that we did so again it's this idea

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of um of David being ganged up on by

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everyone so this first stop again is

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where they organically landed when we

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did the first rehearsal um and maybe I

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tweaked it a little bit just in order to

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position for the cameras but this is

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where you guys naturally felt inclined

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to go yeah um which is oh you know

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always a good sign it's a good idea by

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the way to let actors um begin to Stage

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it on their own you might have one or

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two principles that you know you need

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for example it needs to play near a you

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know a window or a light source or you

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know you know you wanted the Sun at

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their backs or just some basic idea like

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that but having been an actor I've

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always found that when when anytime the

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actors can can establish the staging on

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their own it's it's very helpful because

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it's organic to them and then sometimes

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they'll have an instinct about something

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that is different from the one that you

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had as the Director while you were

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making out the shot list that works very

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very well or might give you an idea like

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I remember at one point you sort of

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moved or you I could tell you you wanted

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to begin to move and then you didn't and

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then I just that gave me the idea that

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well that that would be a good spot for

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a very organic walk away from from David

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so those are the kind of things anyway

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this is where this staging landed and

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that's sort of our our first stop in the

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scene okay Carry

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On and action by the end wiretapping

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students and breaking into journalist

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homes was beginning to sound like a

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rational response well I'm sorry feel

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this way but I simply cannot share your

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view

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about what about any of it

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frankly I thought today was a huge

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Improvement are you

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nuts let me tell you how bad things were

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today after the taping finished I

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overheard two members of the crew say

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that they never voted for him when they

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had the chance I'd love to stop there if

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we can okay and and just taking it back

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a little bit go go back to where you

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were here and you were here in fact do

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it one more time and if we if we can i'

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I'd love to stop a little bit earlier

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okay go ahead and action by the end

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wiretapping students and breaking into

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people's homes was beginning to sound

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like a rational response and I'm sorry

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you feel this way but I simply cannot

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share your view about what about any of

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it frankly let's freeze there so now

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again we've got um a really good axis a

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set of angles which we can look at at

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David Frost feeling this pressure from

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different directions we can look at him

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this way he's got the window behind him

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which is good we can look at him this

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way and you know the pressure is on see

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it past his friend we also are set up

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for a good reaction shot here where he

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looks to his friend for some support and

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you know and his friend clearly doesn't

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support him so again this is a it's a

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shift and it it it also suggested very

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much that David's growing a little bit

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more uncomfortable and trying to you

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know find a reason to not confront these

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guys and moves from here over to here

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here um as I explained earlier I also

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wanted to Stage the scene uh and David

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over here by this window because in a

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moment there's going to be a

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confrontation um and I also wanted David

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to have plenty of space uh more real

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estate to cover to leave giving Reston a

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chance to chase him so the next thing

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that happens is you guys move together

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right and this is Reston really bearing

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down he's his chief antagonist in this

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scene and really pressuring in which

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makes everyone uncomfortable gave me a

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good chance for some reaction shots as

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well um and reactions are very important

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in scenes like this because they can

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really intensify a scene sometimes a

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reaction shot when you're doing a comedy

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is everything that you need to extend

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the laugh by the way too not that we

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were going for any laughs really in this

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scene but um you know if there if if

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there's a joke and you're staging a

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comedy scene and there's anyone else in

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the scene get that reaction shot they go

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all the way back to the silent movies

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those are always the things that could

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could put the laugh over anyway so uh I

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like the way this worked with this

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pressure pressing in on D on David and

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then uh him having all of the space

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which uh to try to escape with okay

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let's carry on so and

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action are you

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nuts let me tell you how bad things were

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today after the taping finished I

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overheard two members of the crew say

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they wish they had voted they never

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voted for him when they had the chance

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but if he ran for office again today

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he'd have their support you made him

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look presidential for Christ's sake and

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forget about the trivia David who cares

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whether Nixon took the White House to

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Europe when he traveled well it's

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irrelevant and it's just a sort of Bal

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anecdote that would distract

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a

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what go on

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you're about to say talk sh host and I

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think we should freeze

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there and uh so now we've moved outside

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David was trying to escape but we had an

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opportunity for um you know a dramatic

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moment a turn he's caught and finally

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he's going to confront these guys um and

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he does and this is where David reclaims

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his role as the leader and um you know

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and doesn't Bend to to uh you you know

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to their their criticism and and so it's

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uh I remember we when we were making the

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movie I really liked when we found this

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practical location that could begin in

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the garage and then carry out into this

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kind of confined space because I felt

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like it was private and yet you know you

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think of a lot of things happening in

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alleys getting beat

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up for

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example and so it just even though it

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wasn't not a dark scary alley it still

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suggests pressure and I wanted to try to

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create that pressure and yet see David

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work his way out of it and uh so this

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staging Falls in nicely again because

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you got the pressure of the chief um you

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know antagonist here pressing on David

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and then you've got this opportunity to

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have um cutaways close-ups of you know

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two other significant characters in the

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scene okay let's continue

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right and action

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say it you're about to say talk your

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host yeah I

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was look it's useless me trying to

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answer your

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point frankly I don't share any of your

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sense of pessimism or alarm and this

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this ridiculous self- flagellation in my

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view was just depressing and it's

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threatening to derail the whole

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Enterprise if anyone of you really

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believes we are going to fail You' best

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leave right now or it'll infect everyone

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else no

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one right good now I suggest instead of

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festering around the hotel for the next

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5 days we go our separate ways over

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Easter but before we go Caroline and I

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would like you to join us for a little

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celebratory dinner over at Patrick

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Terrell's Place celebrate to celebrate

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what David the fact that we're all going

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to be working at Burger King what are we

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celebrating my birthday

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it's my

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birthday and uh I'd like to celebrate it

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with a few

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friends if you could just go back for

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one second at the end I like this

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composition as well this was very useful

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um because again I'm looking for ways to

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keep looking at at David Frost he's

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under attack and to keep tying him to

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his team because his team is

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disappointed in him and he knows that

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and I thought uh so you know this kind

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00:10:01,560 --> 00:10:05,440
of space is good but it also allows the

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00:10:05,440 --> 00:10:07,519
the over theh shoulders that we did that

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tie him with to his you know his these

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characters these important characters

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and it gives each me a chance to have a

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different look at David Frost based on

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the close-up or the reaction shot that

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we'd be cutting off of so it means I

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00:10:24,279 --> 00:10:25,640
don't we don't have to keep cutting back

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to the same shot over and over of David

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we get a slightly different Vantage

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00:10:29,399 --> 00:10:31,800
Point that's connected to one of our

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characters and a lot of what you're

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trying to do with staging is create a

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kind of a connection and an ongoing uh

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shifting of the

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relationships um with the actors and

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then if you can allow the audience to

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sort of share that shifting vantage

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point it's very subtle but it it it sort

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of broadens um I think their sense of uh

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of those relationships uh and and it

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00:10:56,600 --> 00:10:59,079
also keeps the the images fresh even

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00:10:59,079 --> 00:11:00,800
though they might be very very simple

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00:11:00,800 --> 00:11:02,399
just over the

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00:11:02,399 --> 00:11:06,639
shoulders okay okay thank

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00:11:12,160 --> 00:11:14,480
you all right so we're going to do it

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we're going to go through again we're

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still going to stop at some places and

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I'm going to talk about um camera

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00:11:19,760 --> 00:11:21,839
options a little bit more I'm going to

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00:11:21,839 --> 00:11:23,760
talk about some camera options here as

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00:11:23,760 --> 00:11:26,200
we review the staging yet again okay

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00:11:26,200 --> 00:11:29,480
ready and we got one camera leading

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David in another camera following

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00:11:32,079 --> 00:11:36,320
alongside Reston in profile and action

275
00:11:36,320 --> 00:11:38,560
what Revolution David you just let

276
00:11:38,560 --> 00:11:40,360
Richard Nixon claim the country was in a

277
00:11:40,360 --> 00:11:42,600
state of Revolution with protesters

278
00:11:42,600 --> 00:11:44,639
bombing and assaulting police officers

279
00:11:44,639 --> 00:11:46,720
that is not what I remember what I

280
00:11:46,720 --> 00:11:48,600
remember is is people protesting

281
00:11:48,600 --> 00:11:50,760
peacefully and legitimately against the

282
00:11:50,760 --> 00:11:52,720
Vietnam War that's what I remember and

283
00:11:52,720 --> 00:11:55,639
stop let's stop there okay great so what

284
00:11:55,639 --> 00:11:57,760
we have now is it the shot that I was

285
00:11:57,760 --> 00:12:00,000
talking about earlier we've we' got uh

286
00:12:00,000 --> 00:12:01,800
David in the foreground trying to avoid

287
00:12:01,800 --> 00:12:04,560
all of this conflict and pressure we've

288
00:12:04,560 --> 00:12:07,240
got another angle over here let's just

289
00:12:07,240 --> 00:12:09,600
see what we've got a loose single on

290
00:12:09,600 --> 00:12:12,200
Reston and as he moves around we can see

291
00:12:12,200 --> 00:12:14,880
Bert in the background and now let's now

292
00:12:14,880 --> 00:12:15,959
let's talk about some of the other

293
00:12:15,959 --> 00:12:18,880
staging that we did for example let's

294
00:12:18,880 --> 00:12:20,680
get one this way why don't you come

295
00:12:20,680 --> 00:12:22,680
around here this is another example of

296
00:12:22,680 --> 00:12:24,959
the kind of shot we can get that can

297
00:12:24,959 --> 00:12:27,920
break this up uh and you can come in

298
00:12:27,920 --> 00:12:30,680
tighter unresting and make sure the Bert

299
00:12:30,680 --> 00:12:33,560
is a profile this is another angle that

300
00:12:33,560 --> 00:12:35,959
we have you know we also wound up

301
00:12:35,959 --> 00:12:39,320
getting a clean single on rest in here

302
00:12:39,320 --> 00:12:41,639
come to your left we would be doing that

303
00:12:41,639 --> 00:12:44,279
in a different take right we would also

304
00:12:44,279 --> 00:12:48,199
get a reaction here on Bert and we would

305
00:12:48,199 --> 00:12:51,079
we came in eventually around this way

306
00:12:51,079 --> 00:12:53,839
and did a single on oh

307
00:12:53,839 --> 00:12:57,639
sorry uh we did a single onto uh onto

308
00:12:57,639 --> 00:13:00,279
zelck as well so that was the General

309
00:13:00,279 --> 00:13:04,040
coverage be we also did as I recall a

310
00:13:04,040 --> 00:13:06,399
wide shot from back there and coming

311
00:13:06,399 --> 00:13:07,519
over

312
00:13:07,519 --> 00:13:10,000
here we used

313
00:13:10,000 --> 00:13:12,600
this and I think you did a shot from

314
00:13:12,600 --> 00:13:16,519
here that actually moved along with him

315
00:13:16,519 --> 00:13:18,720
as he moved okay so why don't you do set

316
00:13:18,720 --> 00:13:21,360
yourself for that position uh and we'll

317
00:13:21,360 --> 00:13:25,199
carry on the scene ready and

318
00:13:25,199 --> 00:13:28,800
action music off please music off okay

319
00:13:28,800 --> 00:13:31,880
okay hold so again we're back in a wide

320
00:13:31,880 --> 00:13:33,320
position which is probably where we

321
00:13:33,320 --> 00:13:35,800
would use the wide shot in this scene

322
00:13:35,800 --> 00:13:37,360
probably at the very beginning or in a

323
00:13:37,360 --> 00:13:39,600
place like that where we we see this

324
00:13:39,600 --> 00:13:43,760
kind of Showdown and we would also see

325
00:13:43,760 --> 00:13:45,279
this character who's sitting here get up

326
00:13:45,279 --> 00:13:47,760
and go and your your angle gets all of

327
00:13:47,760 --> 00:13:52,040
that right and what lens are you on 28

328
00:13:52,040 --> 00:13:54,959
that's a wide wide lens possibly in a in

329
00:13:54,959 --> 00:13:57,399
in a location to make that even more

330
00:13:57,399 --> 00:13:58,800
Visual and interesting you'd go even

331
00:13:58,800 --> 00:13:59,680
wider

332
00:13:59,680 --> 00:14:02,240
probably go off the zoom and go to a

333
00:14:02,240 --> 00:14:05,199
prim lands maybe a 14 uh to make the

334
00:14:05,199 --> 00:14:07,800
garage you know seem even bigger

335
00:14:07,800 --> 00:14:09,279
probably put the camera down on the

336
00:14:09,279 --> 00:14:11,399
ground and you know just push it

337
00:14:11,399 --> 00:14:13,040
visually and make it a little more

338
00:14:13,040 --> 00:14:17,399
distinctive all right let's carry on

339
00:14:17,560 --> 00:14:21,519
thanks action uh music off please music

340
00:14:21,519 --> 00:14:24,759
off by the end wiretapping students and

341
00:14:24,759 --> 00:14:26,519
breaking into journalist homes was

342
00:14:26,519 --> 00:14:27,880
beginning to sound like a rational

343
00:14:27,880 --> 00:14:29,920
response um sorry you feel this way but

344
00:14:29,920 --> 00:14:32,199
I simply cannot share your view about

345
00:14:32,199 --> 00:14:35,000
what about any of it

346
00:14:35,000 --> 00:14:38,519
corly okay it's freeze there now this is

347
00:14:38,519 --> 00:14:41,160
again another place where it's all about

348
00:14:41,160 --> 00:14:43,560
David trying to avoid

349
00:14:43,560 --> 00:14:45,519
confrontation he's trying to feel good

350
00:14:45,519 --> 00:14:49,279
about it and and they're they're being

351
00:14:49,279 --> 00:14:51,160
negative they're you know they're

352
00:14:51,160 --> 00:14:53,959
frightening him and they're angering him

353
00:14:53,959 --> 00:14:56,639
so we had him leave one position and yet

354
00:14:56,639 --> 00:14:59,600
there they are they're still uh you know

355
00:14:59,600 --> 00:15:02,000
they're they're still encroaching and in

356
00:15:02,000 --> 00:15:03,160
a minute they're going to go even

357
00:15:03,160 --> 00:15:05,600
further so camera wise again we want to

358
00:15:05,600 --> 00:15:07,839
use these different access points we

359
00:15:07,839 --> 00:15:09,800
wanted to shoot you know over Bert's

360
00:15:09,800 --> 00:15:11,839
shoulder this way we want to we want to

361
00:15:11,839 --> 00:15:14,519
shoot past David you know of course we

362
00:15:14,519 --> 00:15:17,120
wanted to get a single on David which we

363
00:15:17,120 --> 00:15:21,600
did from over here right probably past I

364
00:15:21,600 --> 00:15:24,000
think we did it over like that there's

365
00:15:24,000 --> 00:15:27,720
David great we did all of that also very

366
00:15:27,720 --> 00:15:29,759
important is an over the shoulder past

367
00:15:29,759 --> 00:15:33,319
Reston he's going to be the primary um

368
00:15:33,319 --> 00:15:36,519
antagonist here and when we carry on

369
00:15:36,519 --> 00:15:38,480
we'll keep the cameras in this position

370
00:15:38,480 --> 00:15:40,040
because Reston is going to move in on

371
00:15:40,040 --> 00:15:42,560
him and the camera can move with him

372
00:15:42,560 --> 00:15:45,079
which gives you know a feeling of

373
00:15:45,079 --> 00:15:47,920
pressure uh you feel you feel David

374
00:15:47,920 --> 00:15:50,000
being encroached upon because of that

375
00:15:50,000 --> 00:15:51,800
camera movement and also the physical

376
00:15:51,800 --> 00:15:54,079
movement of the actor all right let's uh

377
00:15:54,079 --> 00:15:56,600
let's Carry On from

378
00:15:56,600 --> 00:15:59,800
there and action I thought today was a

379
00:15:59,800 --> 00:16:02,000
huge

380
00:16:02,600 --> 00:16:05,399
Improvement are you

381
00:16:05,399 --> 00:16:08,120
nuts let me tell you go in with him a

382
00:16:08,120 --> 00:16:10,639
little bit about how bad everything was

383
00:16:10,639 --> 00:16:13,759
today after taping finished I overheard

384
00:16:13,759 --> 00:16:15,440
two members of the crew say they wish

385
00:16:15,440 --> 00:16:17,040
they had voted for him when they had the

386
00:16:17,040 --> 00:16:19,120
chance and let's stop so these are two

387
00:16:19,120 --> 00:16:22,000
important angles uh again this camera

388
00:16:22,000 --> 00:16:24,600
where where's where are my students uh

389
00:16:24,600 --> 00:16:26,839
this time this time this camera moved in

390
00:16:26,839 --> 00:16:28,920
with Reston very simple you know you've

391
00:16:28,920 --> 00:16:30,759
we've all seen it you know a 100

392
00:16:30,759 --> 00:16:33,920
thousand or a million times but it does

393
00:16:33,920 --> 00:16:35,720
um you know it uses the grammar of the

394
00:16:35,720 --> 00:16:38,079
medium it it is visually it's moving in

395
00:16:38,079 --> 00:16:40,279
with him but there's also a very other

396
00:16:40,279 --> 00:16:42,199
simple but important shot here and

397
00:16:42,199 --> 00:16:45,240
that's this 50/50 it it's a profile of

398
00:16:45,240 --> 00:16:47,319
the two of them and it's it's a good

399
00:16:47,319 --> 00:16:49,720
confrontational angle and a great one to

400
00:16:49,720 --> 00:16:51,880
have for a scene like this which is you

401
00:16:51,880 --> 00:16:53,639
know a moment that's going to drive

402
00:16:53,639 --> 00:16:58,160
David to finally leaving okay and carry

403
00:16:58,160 --> 00:17:01,160
on I overheard two crew members say they

404
00:17:01,160 --> 00:17:02,639
never voted for him when they had the

405
00:17:02,639 --> 00:17:05,559
chance but if he ran for office again

406
00:17:05,559 --> 00:17:08,959
today he'd have their support you made

407
00:17:08,959 --> 00:17:11,120
him look presidential for Christ's

408
00:17:11,120 --> 00:17:13,600
sake and forget about the trivia David

409
00:17:13,600 --> 00:17:15,160
who cares whether Nixon took the White

410
00:17:15,160 --> 00:17:17,199
House bed to Europe when he traveled

411
00:17:17,199 --> 00:17:19,280
well it's irrelevant and it's just a

412
00:17:19,280 --> 00:17:23,679
sort of Bal anecdote that would distract

413
00:17:24,959 --> 00:17:29,880
a what okay let's stop there that was um

414
00:17:29,880 --> 00:17:34,520
uh dynamic because you you're you see

415
00:17:34,520 --> 00:17:36,360
David turn toward

416
00:17:36,360 --> 00:17:38,120
camera remember in there we were

417
00:17:38,120 --> 00:17:41,400
shooting over over David's shoulder when

418
00:17:41,400 --> 00:17:43,480
he turned you can bring the focus

419
00:17:43,480 --> 00:17:47,080
forward to him so that's that's powerful

420
00:17:47,080 --> 00:17:50,320
and and then it energizes the scene uh

421
00:17:50,320 --> 00:17:52,160
visually and with the staging because

422
00:17:52,160 --> 00:17:54,679
he's he's leaving he's had it and he

423
00:17:54,679 --> 00:17:57,559
comes out camera stays with him one

424
00:17:57,559 --> 00:18:00,039
fluid move even though it's handheld has

425
00:18:00,039 --> 00:18:02,039
some energy as a result of that you know

426
00:18:02,039 --> 00:18:05,120
it seems uh unplanned and then David

427
00:18:05,120 --> 00:18:07,320
stops because he's been

428
00:18:07,320 --> 00:18:10,080
insulted um you know and it's it's gone

429
00:18:10,080 --> 00:18:13,039
sort of one step too far and then using

430
00:18:13,039 --> 00:18:15,679
the same shot you tie him back into his

431
00:18:15,679 --> 00:18:17,720
adversary in this particular scene when

432
00:18:17,720 --> 00:18:20,320
you're staging scenes it doesn't really

433
00:18:20,320 --> 00:18:22,320
matter what the genre is it doesn't

434
00:18:22,320 --> 00:18:25,000
matter if it's fantasy comedy or drama

435
00:18:25,000 --> 00:18:27,640
it it it it's it's always about

436
00:18:27,640 --> 00:18:30,200
objectives uh you know good scenes are

437
00:18:30,200 --> 00:18:32,440
always written with with objectives

438
00:18:32,440 --> 00:18:34,880
there there's conflict there and you

439
00:18:34,880 --> 00:18:37,159
know there's usually one character

440
00:18:37,159 --> 00:18:39,640
that's that's pushing the scene pushing

441
00:18:39,640 --> 00:18:42,120
the conflict another character is

442
00:18:42,120 --> 00:18:44,520
reacting to it strategizing it maybe

443
00:18:44,520 --> 00:18:47,640
counter punching punching um and so you

444
00:18:47,640 --> 00:18:49,960
want your staging to reflect that

445
00:18:49,960 --> 00:18:53,480
whenever it can um sometimes it's just

446
00:18:53,480 --> 00:18:55,720
as simple as two people sitting across a

447
00:18:55,720 --> 00:18:58,039
table and it's all in the acting and you

448
00:18:58,039 --> 00:18:59,960
may not want move the camera at all you

449
00:18:59,960 --> 00:19:02,039
may want to let it be entirely an acting

450
00:19:02,039 --> 00:19:04,440
moment but this this is a scene that

451
00:19:04,440 --> 00:19:06,919
where I felt we just had been coming

452
00:19:06,919 --> 00:19:09,400
from a an interview scene where they

453
00:19:09,400 --> 00:19:12,240
were two characters in a chair for a

454
00:19:12,240 --> 00:19:14,000
long time and so it was important to me

455
00:19:14,000 --> 00:19:16,200
rhythmically in the movie that for this

456
00:19:16,200 --> 00:19:18,240
scene that there's a kind of a flu you

457
00:19:18,240 --> 00:19:20,240
know a fluidity and emotion and an

458
00:19:20,240 --> 00:19:22,440
energy that differentiates it from the

459
00:19:22,440 --> 00:19:24,919
scene that preceded it after this we go

460
00:19:24,919 --> 00:19:27,080
into a real chaotic party scene that's

461
00:19:27,080 --> 00:19:29,400
very festive and there's the irony that

462
00:19:29,400 --> 00:19:32,240
he's trying to have you know a Hollywood

463
00:19:32,240 --> 00:19:35,960
party uh but we know that you know that

464
00:19:35,960 --> 00:19:38,480
he's really recently been confronted by

465
00:19:38,480 --> 00:19:42,320
his guys in a dingy um garage and an

466
00:19:42,320 --> 00:19:45,559
Alleyway okay so this is this is very

467
00:19:45,559 --> 00:19:47,960
good staging um some of the angles that

468
00:19:47,960 --> 00:19:49,400
we want here are what we've got here

469
00:19:49,400 --> 00:19:51,919
with the over the shoulder uh of course

470
00:19:51,919 --> 00:19:53,520
we're also going to want individual

471
00:19:53,520 --> 00:19:55,679
reaction shots one should come

472
00:19:55,679 --> 00:19:59,919
forward of each person now now we this

473
00:19:59,919 --> 00:20:02,320
is uh important you see we're seeing off

474
00:20:02,320 --> 00:20:04,360
the set now if we were doing this I

475
00:20:04,360 --> 00:20:05,840
probably would cheat you over a little

476
00:20:05,840 --> 00:20:08,159
bit to make sure that we we we not

477
00:20:08,159 --> 00:20:10,159
seeing too much onto the wall because

478
00:20:10,159 --> 00:20:12,360
those again flat walls are never

479
00:20:12,360 --> 00:20:14,400
interesting you don't really want unless

480
00:20:14,400 --> 00:20:16,000
it's making a point you don't really

481
00:20:16,000 --> 00:20:19,159
want a shot like this look off that way

482
00:20:19,159 --> 00:20:21,559
you know into a flat wall unless that's

483
00:20:21,559 --> 00:20:23,039
you know the graphic that you're looking

484
00:20:23,039 --> 00:20:25,200
for is somebody who's who's up against

485
00:20:25,200 --> 00:20:27,480
the wall who's isolated or something

486
00:20:27,480 --> 00:20:29,240
like that there may be a reason

487
00:20:29,240 --> 00:20:31,480
but otherwise generally speaking it's

488
00:20:31,480 --> 00:20:33,799
always good to try to search for as much

489
00:20:33,799 --> 00:20:36,480
depth as you can in a shot and so we

490
00:20:36,480 --> 00:20:38,799
have a version like that and likewise

491
00:20:38,799 --> 00:20:41,760
when we would do a reaction shot of Bert

492
00:20:41,760 --> 00:20:43,520
we we wouldn't shoot back into the wall

493
00:20:43,520 --> 00:20:47,320
we'd rake along down the alleyway and of

494
00:20:47,320 --> 00:20:50,440
course last but not least is going to be

495
00:20:50,440 --> 00:20:54,159
this reverse back onto David which we've

496
00:20:54,159 --> 00:20:56,880
talked about and then the other thing

497
00:20:56,880 --> 00:20:58,760
are these connecting shots that we we

498
00:20:58,760 --> 00:21:01,240
discussed so there's one over resting

499
00:21:01,240 --> 00:21:03,440
there's come on back a little bit we'll

500
00:21:03,440 --> 00:21:04,520
go over this

501
00:21:04,520 --> 00:21:07,280
shoulder for this shot probably would

502
00:21:07,280 --> 00:21:09,520
cheat it so if you come over that

503
00:21:09,520 --> 00:21:11,919
shoulder I would do a separate setup for

504
00:21:11,919 --> 00:21:14,840
it and I would make sure that we're we

505
00:21:14,840 --> 00:21:17,279
open it up and clear and you'd never

506
00:21:17,279 --> 00:21:19,880
notice those kind of subtle changes you

507
00:21:19,880 --> 00:21:22,279
know those those little shifts are fine

508
00:21:22,279 --> 00:21:24,039
in the editing if you especially you

509
00:21:24,039 --> 00:21:26,640
would cut away to somebody uh a reaction

510
00:21:26,640 --> 00:21:28,600
shot and then come back and you wouldn't

511
00:21:28,600 --> 00:21:30,600
think about the fact that you know they

512
00:21:30,600 --> 00:21:32,880
were really facing each others directly

513
00:21:32,880 --> 00:21:34,440
now we just would open the shot up a

514
00:21:34,440 --> 00:21:36,279
little bit so that we're seeing the

515
00:21:36,279 --> 00:21:38,039
character that we want to see which is

516
00:21:38,039 --> 00:21:39,679
what we would have here and this is the

517
00:21:39,679 --> 00:21:42,440
shot that also connects him to his

518
00:21:42,440 --> 00:21:43,799
entire

519
00:21:43,799 --> 00:21:46,320
team that combined with the reaction

520
00:21:46,320 --> 00:21:48,480
shots give you gives you a sense really

521
00:21:48,480 --> 00:21:51,159
of the team the Dynamics and uh the

522
00:21:51,159 --> 00:21:53,080
disintegration of that or at least the

523
00:21:53,080 --> 00:21:55,720
the Jeopardy that the team is

524
00:21:55,720 --> 00:21:58,880
facing okay great job okay thank you

525
00:21:58,880 --> 00:22:02,320
much you want