ABSTRACT
The use or not of an establishing shot is explained, as is the concept of only cross-cutting on conflict. Lessons from my past 40 years of directing for the screen, such as placing the camera to receive the maximum pressure of acting, are outlined. How to shoot in tight situations, beds and bedrooms and lavatories, is amply illustrated. The value of eyelines is established and examples of how to achieve them shown. Tracks or dollying and the value and use of them are explained. The chapter ends on analysing soaps and the Theory of Suffering.
