Kill Bill Vol. 1

Repetition – Sound (Part 2)

Repetition of sound can strongly affect the way the audience perceives the image stream. As repetition of sound feels less invasive and more natural than image repetition, it is all the more insidious — and hence more powerful in that respect — even when the trick is blatantly apparent. Continue reading

Repetition – Repetitive actions

Repetitive actions are very conducive to comparing progressions and hammering home all sorts of messages. Besides, very short, non-repetitive actions can be made repetitive without the audience noticing, to make them more stunning. Continue reading

Editing – Breaking the 180-degree rule (Part 3)

In part 3, we will see that inverting characters’ positions on screen by breaking the 180-degree rule is a common way to bring out a shift in power between opposing characters. The temporary loss of bearings it causes on the audience’s side is also very frequently used to describe minor to major turning points Continue reading

Editing – The 30-degree rule (Part 1)

The 30-degree rule is a very important film editing guideline. It is also perhaps one of the most misunderstood. The ‘rule’ states that if two shots of the same subject are to be edited together and the scale of the shots doesn’t change significantly, the camera should move at least 30 degrees Continue reading

Editing – The parallel-axis cut

If ‘taking a closer look’ is often associated with cut-ins, then ‘closely examining’ is the realm of parallel-axis cuts. Presented in succession, shots of different parts of a subject sharing the same viewing axis Continue reading

Alternating cut-ins and cut-outs

Cut-ins and cut-outs are definitely not limited to one-shot effects. Alternating cut-ins and cut-outs — like alternating zoom-ins and zoom-outs or alternating truck-ins and truck-outs — lend themselves very well to designing long series of shots — even entire scenes Continue reading

Scaling down – Cut out (Part 2)

In part 1, we saw how cut-outs could be used to reveal context and action, but what about exposing characters? How about creating space to unbalance the frame so that we expect a subject to show up and fill the void? Continue reading

Alternating truck-ins and truck-outs

It might seem counterintuitive to truck in then truck out (or vice versa) in the same shot, or series of shots. But like zoom-ins and zoom-outs, truck-ins and truck-outs have a whole range of meanings Continue reading