Download Master Shots Volume 2: Shooting Great Dialogue Scenes PDF

TitleMaster Shots Volume 2: Shooting Great Dialogue Scenes
LanguageEnglish
File Size4.3 MB
Total Pages183
Table of Contents
                            Title Page
Copyright
Contents
Introduction
How To Use This Book
About The Images
Chapter 1: Conflict
	1.1 Power Move
	1.2 Doorway
	1.3 Offset Group
	1.4 Crossing Lines
	1.5 Barrier
	1.6 Side Switch
	1.7 Snap Turn
	1.8 Swing to Cut
	1.9 Deep Staging
	1.10 Power Struggle
Chapter 2: Increasing Tension
	2.1 Circling Dialogue
	2.2 Closing Space
	2.3 Exaggerated Height
	2.4 Dramatic Swing
	2.5 Clandestine
	2.6 Frame Share
	2.7 Focus on One
	2.8 Level Change
	2.9 Claustrophobic Space
	2.10 Track Character
Chapter 3: Power Struggles
	3.1 Disoriented
	3.2 Doorway Angles
	3.3 Angle Exchange
	3.4 Threshold
	3.5 Space Reverse
	3.6 Character Chase
	3.7 Side On
Chapter 4: Group Conversation
	4.1 Angle Anchor
	4.2 Eyeline Anchor
	4.3 Group Pivot
	4.4 Central Character
	4.5 Along the Line
	4.6 Line of Three
	4.7 Central Line
	4.8 Solid Camera
	4.9 Round Table
	4.10 Expanding Group
Chapter 5: Connecting Characters
	5.1 Long Lens Space
	5.2 Obstruction
	5.3 Facing Away
	5.4 Angled Push
	5.5 Back to Character
	5.6 Dance Moves
	5.7 Outsider
	5.8 Playing with Space
	5.9 Pacing
	5.10 Parallel Speech
Chapter 6: Revealing Plot
	6.1 Shifting Levels
	6.2 Close Cut
	6.3 Hard Reverse
	6.4 Face to Face
	6.5 Face Up
	6.6 Background Switch
	6.7 Invisible Barrier
	6.8 No Contact
	6.9 Shift to Background
	6.10 Swing Pan
Chapter 7: Walking And Talking
	7.1 Spiral Down
	7.2 Rush Past
	7.3 Finding the Lens
	7.4 Back to Camera
	7.5 Mutual Interest
	7.6 Open Space
	7.7 Following
	7.8 Offset Walk
	7.9 Repeated Swing
	7.10 Tethered Camera
Chapter 8: Intense Emotions
	8.1 Argument in Motion
	8.2 Freeze Reveal
	8.3 Homing In
	8.4 Mixed Distance
	8.5 Moving Out
	8.6 Turn with Move
Chapter 9: Intimacy
	9.1 Push to Talk
	9.2 Close Faces
	9.3 Head to Head
	9.4 Raised Camera
	9.5 Arc and Push
	9.6 Whispering
	9.7 Partial Angle
	9.8 Outer Focus
	9.9 Low and Close
	9.10 Coupled Angles
	9.11 Object Hinge
Chapter 10: Long Distance
	10.1 Solo Move
	10.2 Remote Observer
	10.3 Contrasting Motion
	10.4 Sense of Location
	10.5 Wall Turn
Chapter 11: Creative Staging
	11.1 Reverse Body
	11.2 Motion Exchange
	11.3 Trackback
	11.4 Offset Angles
	11.5 Different Rooms
	11.6 Distant Slide
	11.7 Flat Reverse
	11.8 Move Through Scene
	11.9 Character Reveal
	11.10 Push Between
	11.11 Closing the Gap
Conclusion
Author Bio
                        
Document Text Contents
Page 2

“A terrific sequel to the first . If there’s a cool way to move the
camera, Christopher Kenworthy has explained it to us. I can’t wait to get it in
my students’ hands.”

— John Badham, director, , ; author,

“The most comprehensive and practical breakdown of shooting technique,
Kenworthy’s , is required ‘bedside reading’ for
anyone who’s serious about making movies.”

— Neill D. Hicks, author,
;

; and

“Christopher Kenworthy’s second volume of will inspire every
filmmaker to think carefully about placement and movement of actors as seen
through the camera lens. This book increases the reader’s appreciation for the
critical work of the cinematographer and the director as they speak the
language of film through images.”

—Mary J. Schirmer, screenwriter, screenwriting instructor,

“ , is an inspiration for every director,
cinematographer, and writer. When breaking down a script, I always have

laying open within arm’s reach.”
— Stanley D. Williams, PhD., executive producer, director,

, LLC & SWC Films

“Kenworthy has delivered one of the greatest no-filler books on camera
technique I’ve ever seen, pairing motivation and mechanics to achieve
maximum visual impact. This isn’t a book of glossary terms, it’s a game-
changer.”

— Troy DeVolld, author,

“ , tells you how to achieve powerful dialogue scenes.

http://www.screenplayers.net

Page 91

Showing both actors in one shot is a good way to shoot a dialogue scene,
especially when plot is being revealed. In many cases, you can shoot the
whole scene in one take, moving to a second angle as the scene progresses.
Or, as shown here, you can cut to the second angle.

In the first shot, the characters are focused on the envelope they’ve retrieved
from the mailbox. Although the actors angle their heads slightly so that the
camera can pick up their faces, they can’t really be seen clearly. The audience
is also focused on the envelope.

The cut then shifts to a view that is face-on to the actors, shot by a second
camera at a similar distance and with a similar lens. The audience, however,
is able to see their expressions more clearly because of the cut. To further
facilitate this, the director places the actors physically very close to each
other. This level of proximity between two people is rare, but it works on
screen because when the actors look at each other, they have to really look.
You can’t glance at somebody when you’re this close.

For the actors, this will feel unnaturally close, and they may need some
coaxing. It will be easier to get them to put their faces this close together if
you arrange them so their bodies are touching, with one character leaning on
the other slightly.

Shots such as this help show the relationship between two characters, but
when you want to make a plot point that the audience remembers, it helps to
limit the number of cuts in the scene. By cutting to this one shot of the
characters in close contact, you enable your audience to listen to everything
they say.

. Directed by Terry Zwigoff. United Artists, 2001. All rights reserved.

Page 92

6.3

HARD REVERSE
These shots from Nineteen Eighty-Four show how much power you can
achieve with one cut. Most of this scene takes place with the characters
walking toward a moving camera, but as they come to rest, the camera jumps
to the opposite side of them. This cut comes as a vital plot point is revealed.

Master Shots 2 stresses the benefits you can gain from having actors talk
without looking at each other. You can mix this up by having one character
try to make eye contact, while the other remains uninterested. Here, John
Hurt looks across at Richard Burton throughout the whole scene. Burton
barely glances at him, and the power imbalance between them is clearly
established.

As an audience member, you want Burton to look at Hurt, but when he
finally does, it is a surprise. The two of them stop walking and turn to face
each other. This is a powerful moment, because they are facing each other for
the first time in the film, and a major shift in the plot takes place. At this
moment, the director cuts to a shot taken from the opposite side of the actors.

This cut is powerful because it cuts to the exact opposite angle. A cut to a

Page 182

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