Hi Annie - I think you need to think about what the purpose of these shots are - for example, having a quick-fire staccato approach to these shots might lead us to 'feel' these shots as a sort of 'attack' - it might encourage us to experience the slamming of those doors and the frustration. If a quicker set of choppier shots creates the emotional reality of Faigel's rejection for the audience, then that would be the most appropriate way to go. Always ask yourself 'what is the emotional/narrative purpose of the structuring of your shots/combination of shots/spatial relations of character, location and camera and so on. Every shot should be motivated by something that associates with the effect you're trying to accomplish in the head/heart of your audience.
Hi Annie - I think you need to think about what the purpose of these shots are - for example, having a quick-fire staccato approach to these shots might lead us to 'feel' these shots as a sort of 'attack' - it might encourage us to experience the slamming of those doors and the frustration. If a quicker set of choppier shots creates the emotional reality of Faigel's rejection for the audience, then that would be the most appropriate way to go. Always ask yourself 'what is the emotional/narrative purpose of the structuring of your shots/combination of shots/spatial relations of character, location and camera and so on. Every shot should be motivated by something that associates with the effect you're trying to accomplish in the head/heart of your audience.
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