ABSTRACT
The term point-of-view has a variety of meanings. It refers to how the filmmakers want the audience to feel emotionally about the subject and story. For example, if a writer creates a detective, the story will be written with a particular point-of-view in mind. Specific points-of-view can be found in any good story. In The Grifters, con artists are portrayed as vulnerable loners and in The Sting con artists are dapper gentlemen. Once a point-of-view is established, the picture maker can choose visual components that communicate that point-of-view. This chapter focuses on four approaches for controlling the visual components based on a point-of-view. They are: analytic choice, researched choice, instinctive choice, and arbitrary choice. The process of reading a script and finding its visual components can be daunting. Although every visual component should be controlled, the structure of each component can be kept simple.
