ABSTRACT
Let us examine the opposite of the precisely timed dialogue scene of substance, say, an argument between two characters in which maximum pace is desired. The basis for the conflict has been established earlier in the film, and additional information would be redundant; attack, defense, and counterattack follow each other at breakneck speed. Since the dialogue carries most of the dramatic burden and individual reactions are hardly subtle, many such scenes are filmed in master shots or, if broad movement over a considerable amount of space is called for, in a series of connecting master shots. However, let us assume that the sequence is lengthy and a point is reached where intercutting of swiftly paced close-ups wi l l accentuate the verbal battle.
