I haven’t posted one of these in quite some time but the theme is worth reviving, so here goes…
Whether you’re prepping, shooting or sitting on the couch plotting your next move, turn every idea you come up with completely on its head. What that means is, within the context of what you’re trying to do, step back for a moment and consider it from the opposite position.
Even though, “This’ll be great if we put the camera up there…”
Try looking at it from down here. Or, over there.
And when a director says, “I want to fly across the room in this shot…”
Imagine what the effect would be if the camera was locked off.
I could go on and on, but you get what I’m driving at. Though it’ll take some effort as you begin, don’t just settle for your first impression or impulse. And don’t be afraid to make your opinion known. Question everything in a way that forces you to clarify and improve what you’re trying to achieve, down to the smallest detail. This process is valid from the first conversation with the director right up to the moment you’re about make an exposure.
I’ve been following this practice for a long time and can’t count the occasions in which it made a good idea better. It’s also interesting how it applies to issues away from the set, in real life.
But that’s a subject for another time, and probably…another blog.
Very good advice! After breaking the possible coverage for a scene, I then try and come up with a completely different approach, like looking at the scene from outside looking in when normally I’d shoot towards windows… just to see if it would be better dramatically. A lot of your plans depends on the degree of coverage — if the blocking is going to create a lot of eyeline switches in screen direction, that’s fine in a oner with almost everyone in the frame at some point or something with little coverage, but as soon as you get into traditional coverage, you don’t want to have to cover everyone from two different screen directions!
Thank you for the reminder. Yes, it works in life too.